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Imelda Marcos’ fetish for fiendishly expensive shoes was a running gag in the 1980s. But did you know that she was also something of a disco queen?

The image of a jet-setting Marcos in her Beltrami pumps boogieing with arms dealers at fashionable New York nightspots is one of the inspirations of David Byrne’s musical about the notorious former first lady of the Philippines, who sang on the campaign trail for her husband, Ferdinand E. Marcos, and ruled with an iron fist alongside him after he declared martial law and plunged his nation into a brutal dictatorship.

“Here Lies Love,” which is having its Los Angeles premiere at the Mark Taper Forum, traces the political power couple’s rise and fall through a series of dance cuts that capture the irrational hold charismatic leaders can have on a public — at least while the music is blasting.

Byrne, the ingenious Talking Heads co-founder, conceived the show and wrote the music and lyrics. Fatboy Slim, a Grammy Award-winning DJ, musician and record producer, contributed to the music. The score, a mix of lush disco and synth pop with hints of island breezes and karaoke camp, brings a club-like energy to the stage.

Aura Mayari and the company of “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

I first saw “Here Lies Love” at New York’s Public Theater in 2013, when the production, directed by Alex Timbers, was staged as an immersive dance party. Audience members moved along a shifting dance floor as the love story between Imelda, a beauty queen from the provinces, and Ferdinand, an ambitious senator accustomed to getting what he wants, sourly played out amid the backdrop of a traumatic national story.

This sung-through musical pulled off something of a coup of its own. As Ferdinand, now president and philandering husband, and Imelda, his embittered wife dripping in compensatory luxury, shore up their “conjugal dictatorship,” theatergoers discovered that, while partying to the seductive beat, a political dystopia was solidifying around them.

Imagine if, in “Evita,” audience members were invited to sing back up on the balcony as Eva Perón belts out “Don’t Cry for Me Argentina,” accompanying her in her last manipulative hurrah. “Here Lies Love” seemed to want its audience to leave with an aftertaste of cognitive dissonance.

Audiences don’t usually like being duped. But voters need to be continually reminded that when they go to bed with a strongman, they’ll likely wake up without healthcare or voting rights.

“Here Lies Love” at the Taper doesn’t follow the Public Theater’s staging or the similarly immersive Broadway production by Timbers that followed in 2023. It’s a more straightforward presentation that keeps audience members in their seats, except for a moment when uprising is in the air and a few theatergoers are conscripted to join the ecstatic rebellion.

Jeff Lorenz Garrido, from left, Joshua Dela Cruz, and Garrick Goce Macatangay in “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

Snehal Desai’s direction is politically clear-eyed and scrupulous. Corruption, authoritarianism and censorship, as we’re learning firsthand, scandal after constitutional scandal, are no laughing matter. The question is whether “Here Lies Love” can bear the scrutiny of a more traditional musical.

There’s not a traditional libretto, so the story is transmitted mostly through song lyrics. But stump speeches, rallying cries and the theatrical guidance of Imeldific (Aura Mayari, alum of Season 15 of “RuPaul’s Drag Race”) help flesh out the chronicle.

This emcee figure, a Taper innovation, replaces the DJ role of previous productions and establishes the show’s metatheatrical frame. The opening number, “American Troglodyte,” underscores the American imperial role in the story and provides Imdeldific with a satiric banner that doesn’t let a smiling superpower off the hook.

William Carlos Angulo’s choreography is unfailingly kinetic, but participating in a party is more energizing than watching one at a remove. Yet the political case of Ferdinand and Imelda Marcos, a tale of celebrity and tyranny marching in lockstep, speaks so directly to our own time that I found myself gripped by the object lesson of this public saga, even if it’s not always easy to connect all the fragments, never mind distinguish between hard fact and fictional license.

I was particularly fascinated by the portrayal of Imelda (Reanne Acasio), whose political character seems to be shaped by personal disappointments and run-of-the-mill humiliations. Imelda is wounded not only by the philandering of Ferdinand (Chris Renfro) but by an even more painful injury inflicted by her first love, Ninoy Aquino (Joshua Dela Cruz), a politician determined to become the voice of his people.

Ninoy recognizes an essential incompatibility between them. Imelda lives for love while he has political work to do. He bids her adieu in the song “Opposite Attraction,” though fate will bring them together after Imelda and her husband gain power and Ninoy, as the leading opposition figure, becomes their prisoner and eventual victim of the chaos unleashed by their regime.

Joan Almedilla and the company of “Here Lies Love” at the Mark Taper Forum.

(Jeff Lorch)

Unfolding under the theatrical auspices of Imeldific, “Here Lies Love” retells the history of the Marcos years as a musical pageant. Imelda’s transformation, from shy, lowly country girl to “Iron Butterfly,” covering up her shame with jewelry from Tiffany and revealing a will every bit as hard as the diamonds she flaunts, is presented with music so catchy and compulsive that it has the force of historical inevitability

The grooves supplied by Byrne and Slim take not just the characters but the audience on a ride through a brutal anti-democratic period. Does the disco spectacle aesthetic treat this history too lightly?

The production seems wary of this criticism. A program note from dramaturg Ely Sonny Orquiza, attuned to the sensitivities of the large Filipino diaspora in Los Angeles, notes that the production, “featuring an all-Filipino cast and majority-AAPI creative team, is not intended as a definitive or comprehensive history, but as an entry point for dialogue and inquiry.”

The scale of damage perpetrated by the regime is still being collectively processed. One victim, Estrella Cumpas (Carol Angeli), makes the mistake of confronting Imelda, a childhood friend, and is taken into custody. She will have to stand in for thousands of others.

The design scheme certainly doesn’t want to spoil anyone’s good time. Arnel Sancianco’s sets, Marcella Barbeau’s lighting and the more glittering of Jaymee Ngernwichit’s costumes seem to place us in a retro Euro-style disco world, where fun is typically a function of the strength of the cocktails consumed.

But there’s a countermovement in the show, the People Power Revolution that gains momentum after the assassination of Nimoy. The funeral speech of his mother (Joan Almedilla) is turned into the galvanizing protest song, “Just Ask the Flowers,” in which something as basic as maternal love wakes the country to the madness around them. Desai, whose directorial work at the Taper thus far has brought together rave and rebellion, smoothly merges the Dionysian frenzy of the music with the nonviolent revolution that ended Ferdinand Marcos’ protracted dictatorship in 1986.

Dela Cruz’s stirring Ninoy standing tall against the patriarchal savagery of Renfro’s Ferdinand and the petty vindictiveness of Acasio’s well-drawn Imelda is a powerful call to action. Byrne and Slim’s score insists that not even death can stop the beat of this democratic spirit.

The production points out at the end that another Marcos, Ferdinand “Bongbong” Marcos Jr., Ferdinand and Imelda’s son, is now president. Perhaps the show’s final number can shed light: “God draws straight, but with crooked lines.”

WASHINGTON — Even while the Warren Commission was preparing its report on the assassination of President John F. Kennedy, there were disagreements over whether the same bullet had struck Kennedy and John B. Connally. Among the dissenters: President Lyndon B. Johnson.

Besides, Johnson asked Warren Commission member Sen. Richard Russell (D-Ga.), “what difference does it make which bullet got Connally?”

Arguments over the same-bullet theory continue more than 30 years after the attack in which Kennedy was killed and Connally, then the governor of Texas, was wounded.

Johnson’s conversation with Russell was included among tapes released Friday by the National Archives and the Lyndon Baines Johnson Library in Austin, Tex.

The tapes reviewed in Austin disclosed that Connally called Johnson on March 2, 1967, to discuss claims that Cuba was involved in the assassination. In other phone conversations, Johnson told aides to keep up with New Orleans prosecutor Jim Garrison’s investigation into the slaying.

Garrison’s theories and writings about the assassination formed the basis for Oliver Stone’s 1991 movie, “JFK.”

Johnson, however, said he did not believe the CIA-Cuba theory. In a Feb. 18, 1967, conversation with then-acting Atty. Gen. Ramsey Clark, Johnson said the Cuban theory was as preposterous as if he were told that his wife, Lady Bird Johnson, “was taking dope.”

Johnson’s conversation with Russell, about the bullet that hit Connally, occurred on Sept. 18, 1964. They discussed progress in preparing the report on Kennedy’s slaying.

The senator noted some members of the commission headed by Chief Justice Earl Warren believed that “the same bullet that hit Kennedy first is the one that hit Connally.”

Responding to Johnson’s musing, Russell said, “Well, it don’t make much difference.” He added: “Well, I don’t believe it. . . .”

“I don’t either,” Johnson responded.

Russell said the differences among the commission members were to be noted in the report.

Connally, riding in the front seat of the presidential limousine, was wounded when Kennedy, in the back seat, was slain in Dallas on Nov. 22, 1963.

Investigators agree that three shots were fired, but through the years conspiracy arguments have turned on whether the same bullet could have passed through Kennedy’s upper back and hit Connally.

The two were struck almost at the same instant. If the same bullet could not have wounded both men, there had to have been a second bullet–and therefore a second gunman, according to those who believe in a conspiracy.

When Connally died last summer, researchers asked to recover bullet fragments from his body to help resolve the issue, but the request was turned down.

Brendan Carr, the chair of the Federal Communications Commission (FCC) in the United States, has confirmed that the agency launched an investigation against ABC’s daytime talk show The View over a recent appearance by a politician.

In comments to reporters on Wednesday, Carr indicated the probe would examine whether The View violated a new interpretation of an “equal time” rule implemented under President Donald Trump.

Fox News had been the first to report on the investigation in early February. The segment in question involves an appearance from Texas state Representative James Talarico, a Democrat who is vying for the US Senate.

The confirmation comes as Carr attempted to shut down claims that the government censored an interview between Talarico and late-night talk show host Stephen Colbert.

“There was no censorship here at all,” Carr said.

“Every single broadcaster in this country has an obligation to be responsible for the programming that they choose to air, and they’re responsible whether it complies with FCC rules or not, and it doesn’t, and those individual broadcasters are also going to have a potential liability.”

The controversy with Colbert likewise stems from the Trump administration’s decision to shift definitions under the “equal time” rule.

What is the ‘equal time’ rule?

The rule is part of section 315 of the 1934 Communications Act. Under that law, if a broadcaster allows one candidate for public office to use its facilities, it is required to “afford equal opportunities” to all other candidates in the same race.

But the law includes exceptions for “bona fide newscasts” and “bona fide news interviews”.

For nearly 20 years, talk shows and late-night comedy programmes were included in those categories.

In January, however, the FCC issued new guidance (PDF) that significantly narrows how it interprets the “bona fide news” exemption. In a memo, it described daytime talk shows and late-night comedy as “entertainment programs” that fall outside the exception.

“The FCC has not been presented with any evidence that the interview portion of any late night or daytime television talk show program on air presently would qualify for the bona fide news exemption,” the memo reads.

The commission also suggested that many such programmes are “motivated by partisan purposes” and are therefore not “bona fide” news.

The new interpretation of the “equal time” rule, the FCC argued, is designed to “ensure that no legally qualified candidate for office is unfairly given less access to the public airwaves than their opponent.”

Controversy with Colbert

That new interpretation came roaring into the spotlight on Monday, after a broadcast of the CBS comedy programme The Late Show with Stephen Colbert.

In one of his opening segments, Colbert alleged that the network lawyers barred him from airing a planned interview that night with Talarico.

“Let’s just call it what it is,” Colbert told his audience. “Donald Trump’s administration wants to silence anyone who says anything bad about Trump on TV, because all Trump does is watch TV. OK? He’s like a toddler with too much screen time.”

Trump has previously criticised both Colbert’s show and The View for what he considers a left-wing slant.

Instead of broadcasting his interview with Talarico on network television, Colbert instead posted the segment on the programme’s YouTube page, where it has gained more than 6 million views as of 3:30pm Eastern Time (20:30 GMT) on Wednesday.

According to Carr, Colbert’s show could have aired the Talarico interview if it had complied with the equal time rule.

That would have involved allowing other candidates in Texas vying for the Senate seat to come on the show. Carr also suggested that another solution could have been to restrict the broadcast in Texas.

But the FCC has continued to face criticisms for its actions. In Tuesday’s broadcast, Colbert addressed the issue a second time.

He read aloud a statement from his broadcast channel that read, in part, that The Late Show “was not prohibited by CBS from broadcasting the interview” and that it was instead “provided legal guidance that the broadcast could trigger the FCC equal-time rule”.

CBS added, in the statement, that Colbert could have invited onto the show Talarico’s rivals, including fellow Democrat Jasmine Crockett.

“I am well aware that we can book other guests,” Colbert responded. “I didn’t need to be presented with that option. I’ve had Jasmine Crockett on my show twice. I could prove that to you, but the network won’t let me show you her picture without including her opponents.”

Colbert has been a vocal critic of CBS’s parent company, Paramount Global, particularly after it settled a lawsuit last year with the Trump administration for $16m in the run-up to a critical merger for which it needed government approval.

Talarico, meanwhile, accused the FCC of censoring his interviews. Nevertheless, on Wednesday, he noted that the uptick in media attention from the scandal has helped him gather donations.

“Our campaign raised $2.5 million in 24 hours after the FCC banned our Colbert interview,” he wrote on social media.

A Gogglebox family has been missing a family member on their sofa in the latest series and he has now shared the reason for his absence in a hospital selfie

A Gogglebox star has revealed why he hasn’t been in front of the camera lately. Raza Siddiqui is a fan favourite on the hit Channel 4 series, but had to take time away from filming.

He had been a regular on the show since it first started in 2013. He often appeared alongside his family as they offered their thoughts on the latest shows. But he was nowhere to be seen in the latest series, leaving fans questioning where he was, while dad Sid and brothers Umar and Bassit continue to entertain.

Now, Raza has posted an update from his hospital bed. Sharing the snap on the Siddiqui family’s Instagram page, the upload showed a series of pictures of him in hospital. In some images, he was hooked up to breathing machines.

And to explain his absence from the show, the post read: “For you eagle eyed Goggleboxers, you may have noticed that Raza (@razathefaint) hasn’t joined us on the sofa so far this season. Sadly he had a bit of a fall, a few weeks back and cracked some ribs.”

The post said they fully expect him to return in a few weeks as he is recovering well. It went on: “He’s absolutely smashing his recovery, staying positive and keeping himself entertained with walks, telly, reading and nephew cuddles with Theodore.

I know you guys reaching out and sending your well wishes will put a bigger smile on his face than morphine ever could. Can’t wait for all four Siddiquis to be back on team @c4gogglebox with the rest of the fab families.”

The post was met with an influx of positivity and messages of well wishes. One user wrote: “Bless you get well soon, we look forward to having you back on our screens when you are well enough.”

Another wished him a “speedy recovery”. And a third said: “Oh no! Get well soon!”

The Siddiquis weren’t the only family to be missing a member in the latest series. Fans quickly spotted siblings Tremaine and Tristan Plummer weren’t joined by their brother Twaine. The trio had joined the programme in 2016, but Twaine was a recent absentee from the show.

On Instagram before the episode aired, Tremaine and Tristan confirmed: “It’s just the two T’s today as Twaine left us to go on holiday. So we’ve got a new member of the team now,” before picking up their adorable dog.

Twaine let his feelings be known as he responded to the post, saying: “Wish I was there.” He was quickly supported by his fans, who went on to wish him a happy birthday.

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This article contains spoilers from the Season 3 finale of “Tell Me Lies.”

“Tell Me Lies” ended with the hard truth.

Based on the book by Carola Lovering, the Hulu series centers on the toxic and manipulative on-again, off-again relationship between college students Lucy Albright and Stephen DeMarco — portrayed by real-life couple Grace Van Patten and Jackson White — whose distressing bond causes a ripple effect of chaos and turmoil for their friend group that stretches across eight years.

It all culminated in Tuesday’s Season 3 finale, which brought explosive revelations, the return of old habits and final fractures to the friend group. But what about its central pair?

Across the show’s two timelines, Stephen’s admission to Yale Law School was revoked and his engagement blew up — but is that enough retribution for the most-hated fictional millennial man with a buzz cut after all the emotional and mental abuse he inflicted? Meanwhile, Lucy’s life is upended when she is expelled from school; but years later, and not without making another questionable choice, she is finally free from his torment. For good. Hours before the finale dropped, creator Meaghan Oppenheimer announced the series would not return for another season.

Over two separate video interviews from New York — Oppenheimer from her home; Van Patten and White, later in the day, from a hotel room — The Times caught up with the trio to discuss bringing the dark and twisted saga to an end, why Stephen wasn’t dealt more severe punishment and the love story between Bree and Wrigley. The conversations have been combined and edited for clarity and length.

Lucy (Grace Van Patten) and Stephen (Jackson White) in the series finale of “Tell Me Lies.”

(Ian Watson / Disney)

Before we dive into the finale, the other big news is the announcement that the show will not return for another season. Would you have wanted more or are three seasons enough?

Oppenheimer: This was definitely a very thoughtful, mutual decision that I came to with Hulu and 20th [Television,” which produces the show]. I went into this season wanting to write it with a sense of finality. I always felt like three seasons was sort of a perfect number for a smaller show like this. I always envisioned Lucy and Stephen’s worst, biggest breakup in college, and her public downfall culminating with the wedding weekend. But we went into this season not knowing for sure if there would be another one — and after seeing the amazing fan response and the numbers being so great, we definitely discussed “is there an organic way to keep it going?” I was definitely trying to make a very specific point with the way that Lucy and Stephen ended, which is that it was inevitable that he was going to hurt her, and that if she chooses him over her friends, she’s going to lose them. To keep going after that and force them back in each other’s lives, it would have felt like it was undermining the stakes of everything we set up.

Does it feel like the right time to be done with these characters?

Van Patten: It does. Of course, it’s bittersweet. But in terms of the story, it feels really right that it’s ending here, and we’ve had a beginning, a middle and an end.

White: I like the way that goes out.

Will you be glad to not be the most hated fictional man on TV?

White: I’m stoked. I’m stoked. I really am. I’m really excited to not trigger people like that. It’s a strange burden, like an odd social burden.

Van Patten: Because it’s out of love, but what they’re saying is so negative.

White: Yeah, it’s a compliment, but it’s mean. It’s kind of like how Stephen talks to the other characters.

Grace Van Patten as Lucy Albright in the final moments of the “Tell Me Lies” series finale. (Ian Watson/Disney) (Ian Watson/Disney)

Finales are challenging because they come with a lot of expectations from fans. Since you weren’t sure if the series might return, how did that shape how you wrapped this third season?

Oppenheimer: I had to go into it not worrying too much about what would happen in the future. When we found the [Season 3] ending in the writers room, we all were like, “Oh s—, that’s the ending to the story, not the ending of the season.”

Sometimes, when I see certain [fan] theories, I’m like, “What show are you watching?” I think people that were expecting a resolution to the Macy story, for instance, for him [Stephen] to get arrested — that’s so surprising to me … because I’m like, “I don’t feel like you’re watching the same show that I’m watching.” It’s one of the few things that we kept from the book. He doesn’t get justice for that. In reality, people get away with really bad things and that’s one of the scary truths of the show.

How did you and the writers decide on the moment that ends the series? Lucy choosing to ride off with Stephen after the wedding goes off the rails, only for him to leave her stranded at a gas station.

Oppenheimer: The show was going to end in one of three ways: Does she reject him? Does he reject her? Or do they end up together? I felt for a very long time that they should not end up together because this is a story about abuse. I don’t think this is a love story. It felt like staying true to what the show meant not having this overly positive, optimistic ending where she wins.

At the same time, the one thing we’ve learned about Stephen is that he will never let you go unless he’s the one making that decision. For Lucy to actually be free of him, he needed to be the one to walk away. It actually is the only way for her to really wake up and see it.

I will get images for scenes before I know what the actual scene is, and it’ll be almost more of like a symbolic image, or it’ll be a fable that I’ve heard before. But I said to the writers room, “I just want it to be her finally having the decision — Bree or him, friends or him — and her choosing him and then, it’s not this, but it’s as if he just drives away and leaves her by the side of the road.” And they were all like, “He could literally just drive away and leave her by the side of the road.” The idea of her being on this island alone, and the inevitability of it. And that’s why we have the whole —

Grace Van Patten on ending the series: “Of course, it’s bittersweet. But in terms of the story, it feels really right that it’s ending here, and we’ve had a beginning, a middle and an end.”

(Dutch Doscher / For The Times)

Allusion in the previous episode to the scorpion and frog fable?

Oppenheimer: Yes. The answer is, of course, he was going to hurt you because he’s Stephen. It’s in his nature. Also he’s not driving away, thrilled and happy. When he says, I’ve just blown up my entire life. If I hurt you, I’m hurting myself. It’s true. He would have more fun if he just learned to be nice and be with Lucy. But he can’t help it. His nature is to win and to wound and to get the last laugh.

White: That character is all about himself, and this is one final way to leave on the last laugh.

Van Patten: I find the ending to actually be a little bit helpful. I think there’s a lot of freedom and relief in that last moment when she realizes he left her.

There’s that almost wistful look that she has at the gas station, getting the coffees. Then there’s the one when she realizes she’s been stranded and all she can do is laugh. It’s quite the trajectory.

Van Patten: Every time Lucy has gone back to Stephen, she’s completely in denial. There’s a sense of hope, maybe it’s going to be different this time — also, he had just blown up every relationship she had at the wedding. We’re completely on an island together. There’s this hope of like, maybe we can be OK now, there are no more secrets left. The friend group isn’t together. There’s nothing being held over one another’s head. Then she’s hit with, “Oh, my God he did it again. Shame on me.” She totally could have cried, but she just decided to laugh instead because it is predictable. She actually saw it for the first time as definitive.

Jackson White on playing the hated character Stephen: “It’s a strange burden, like an odd social burden.”

(Dutch Doscher / For The Times)

How did you and the writers grapple with why Evan and Bree would invite Stephen to the wedding after everything that happened in college?

Oppenheimer: It’s one of the things that struck me in the book and scares me about a lot of young men in general (especially operating within groups) — the way guys tend to forgive other guys for what they do to girls. When Evan and Stephen leave things in senior year, they’re actually at a relatively good place with each other. Even though Evan knows that Bree knows the truth (about Lucy‘s one-night stand), he knows that Stephen still recognizes the worst parts of him, so he’s made a decision to keep him close in order to keep himself safe. Bree has a line where she says, “I begged Evan not to invite him.” So it’s not up to Bree, and like a lot of people do, she’s decided to accept that her fiancé has this friend she hates.

On social media, there are fans who say they won’t be satisfied if this show doesn’t end with Stephen dying. And there was the theory that characters were plotting their revenge on him to take place at the wedding. What do you make of that? Why not go that route?

Oppenheimer: When you’re writing anything based on fan expectations or giving them the happy ending all tied in a bow, I think you’re doing a disservice to the story. Different writers would do different things. I have to stay true to my taste. Hoping for all that, I get it. But I think that the way that we do it is with a laugh.

But why not go that route? It just didn’t feel realistic. Maybe I’m just very jaded, but as I look around the world — everyone after #MeToo was like, “Oh, did we cancel all the men?” It’s like, “No, we didn’t.” That is the reality of the world that we live in, especially now, with everything coming out about the Epstein files — it’s appalling. To me, it feels almost belittling to people who’ve been abused and been in these kind of things to say, “Oh, it all works out in the end.” But also, I will say, Stephen is not going to be happy. He’s miserable.

White: He was hardwired to hate. I think the character was designed to start hating. He’s started as a confusing character, and by the end, I think it’s pretty clear that he is one-sided and complicated, sure, but also unquestionably immoral. And there’s a lot of satisfaction in wanting to take that person out, especially if you’re projecting your own whatever onto this character. I totally understand the impulse to want to ice him. But that’s not the way the world works, and I think that’s why the ending is well done because [that’s] not always the case. You don’t get that satisfaction. You actually have to live with it for a long time. And I think the message is that it’ll keep happening over and over and over unless you fix it yourself. No one’s gonna save you. You have to heal yourself.

What about the outcome of the college timeline — in the end, Yale revokes its law school admission offer to Stephen after receiving a tip about behavior that goes against its code of conduct, namely the distribution of pornographic material, which we come to learn was Wrigley’s doing. And that’s one big loss for Stephen. What intrigued you about that? And was it always going to be Wrigley who did that?

Oppenheimer: We didn’t think, initially, that it was going to get reported. That was something that someone — I can’t remember who it was — said, “It really doesn’t feel fair for Diana not to get to go to Yale after everything she’s done to get past every obstacle to better her life.” Then when we were deciding who reports him, it was just very obvious that it needed to be Wrigley because it’s the last person Stephen expects. I thought it was really important to have a guy … it really devastates me the way that men choose other men over their female friends and turn a blind eye. I just wanted one boy to stand up against the other mean boys.

White: I think [having Yale revoke his admission] really messed him [Stephen] up. He is a survivor, though, he’s a shark. A lot of these people don’t face consequences. I think eventually they do. Everything does come around. I think the people who wish ill upon other people will get what’s coming to them. We’re just not going to see when. But in his lifetime, he will get his ass kicked in that way.

Grace Van Patten, left, on the set of “Tell Me Lies” with showrunner Meaghan Oppenheimer.

(Ian Watson / Disney)

To move on to Lucy, we learn what happened in the college timeline that led to her being largely estranged from the friend group. Grace, what stands out to you about playing her in that state of numbness to her life crashing down?

Van Patten: It’s been set up the past two seasons, in the present day, that the worst thing happened to Lucy in college, and we haven’t known what that thing was until this last episode. It’s the last piece of the puzzle for the audience to see what really ruined Lucy’s life. It was so tragic and heartbreaking because she is not computing anything. She’s completely reverting back to being a little girl and doesn’t know how to deal with getting in trouble, and she’s not taking in what’s what’s going on; she’s completely disassociating. I think if she allows herself to feel, then she would not be able to pick herself up off the floor. It’s self-protection and complete denial.

“It’s the last piece of the puzzle for the audience to see what really ruined Lucy’s life,” says Grace Van Patten of “Tell Me Lies.”

(Dutch Doscher / For The Times)

At what point did you both learn that it was Bree who released the tape with Lucy confessing to lying about being sexually assaulted by Chris — a lie she told to protect Pippa, his actual victim?

Van Patten: I forget if it was through reading or Meaghan just telling us before we got the scripts. I was definitely surprised by that because the first few episodes, they’re really emphasizing the closeness between Lucy and Bree and how they’ve developed this really tight-knit relationship, which made sense; they were bumping it up to make that feel like real betrayal. But I just see it as Bree getting even.

White: I really did like that. I liked playing that I genuinely didn’t do it.

Tell me more.

Van Patten: His first time!

White: Just because every single person will obviously think he did. We’ve just established him for three years as the guy who would do that. And to actually have it not be him is confusing, and it was very fun to play. I did not do this horrible thing — I’ve done a lot of other horrible things, but I didn’t do this.

I love the way you deliver the line, when it clicks for you that it was Bree — “Oh, my God, you released the tape, didn’t you?”

White: If the character’s putting pieces together, I like to try and put pieces together. It was just easy to act in that moment. That entire wedding sequence was very easy for everybody because it was well-crafted. We were all bringing it. We knew it was one of the big, important moments.

The cake got demolished.

White: Branden Cook [Evan] is amazing in that sequence.

Van Patten: He insisted that he do that stunt. He was like stretching beforehand.

White: He was chomping at the bit. Oh, he was ready.

Was the end goal to find a way to use ‘Toxic” by Britney Spears to score the climax?

Oppenheimer: I love it so much. It’s really funny because since Season 1, I was, “When are we gonna use ‘Toxic’?” It’s just so perfect for the show. We were editing that scene and we were throwing different songs in, and we’d actually tried this other song that worked really well — “I Gotta Feeling” [by the Black Eyed Peas]. But then I was like, “Should we just try ‘Toxic’?” And my editor, Jen, was like, “It’s literally now or never.” The way that the music lines up with Evan crashing into the cake. It timed out perfectly.

Wrigley (Spencer House) and Bree (Catherine Missal), during a break from the engagement party, have a conversation about their relationship that leads to sex. (Ian Watson / Disney)

The night of his wedding to Bree, Evan (Branden Cook) learns about her affair with Wrigley. (Danielle Blancher / Disney)

How did you arrive at some of the other big moments, like Bree and Wrigley. She goes through with the wedding, but their secret is out. What happens next for them? It’s also like, is this trauma bonding or … ?

Oppenheimer: I don’t think it’s trauma bonding. I think they’re soul mates, personally. Trauma bonding is a thing, but there’s also something very real about meeting someone in a moment of grief and it has just taken all of your outer layer off, and it has exposed the real you. I think that’s what they’re seeing when they connect at the beginning of Season 3; they’re the truest version of themselves. I knew that I wanted it to come out because Evan could not get away with this. Evan could not have the happy marriage to Bree. Lucy had a choice that she was making with the full knowledge of the choice, but Bree doesn’t know all the things that Evan did to her to completely destroy her relationship with her mom. It would have felt so unfair for that to work out. I always saw that exploding and coming to light. That smile at the end of the wedding, that tells you they’re going to make this work. I literally wrote it into the action line of the script. I said, “Their eyes meet across the room, and they smile. And you get the sense that in spite of it all” — I think I wrote “carnage” — “they’re gonna find a way to make it work.” And I think they do.

White: I like happy endings, just as a viewer. I like when things work out for characters that didn’t really do anything bad. I love Wrigley and Bree. It’s a great relationship.

Van Patten: I love that relationship. I feel like they deserve each other and like they’re the two with the most well-rounded moral compass. They feel right together. And so do Pippa and Diana. They’re the only ones who are leaving happy, in the end. They’re like, “Let’s get out of here. We do not belong here.” And they just walk off. They kind of leave unscathed when everyone else is in the fire?

Grace Van Patten and Jackson White of “Tell Me Lies.”

(Dutch Doscher / For The Times)

Do you wish, especially as a real-life couple, that’s what you could have played?

Van Patten: I thought it was the perfect ending for these characters. If they ended up together and figured things out, it would just be so unrealistic. Look what these people have done to each other for the past three seasons. They’re not going to be OK together.

I guess I mean the whole trajectory, having to play the fictional couple that’s so toxic as you’re starting a relationship.

White: Yeah, not a lot of blending between work and real life.

Van Patten: Thank God. It’s only a nice, warm feeling to know we’re nothing like them. But it’s just fun acting together. We have to do crazy things and say crazy things. It’s very, very separated for us.

What do you hope for your characters?

White: I don’t hope much for him. I’m trying to think if I know anybody like that or with those tendencies — I do. I do know people who have a lot of similarities, and I pray for them, and I hope they do well. I also hope they get what’s coming to them. Actually let me take it to back because if somebody has wronged me, then I wish them the best. But for somebody like him, he’s sort of beyond that, isn’t he? I don’t know how to answer that question. I don’t know what I would want for him.

Van Patten: I hope that final instance that we see in the last episode pushes her into a journey of self-analysis and her really trying to figure out why she looks for that type of thing in a relationship, and why she has been so drawn to that. Hopefully she does the work to change that and focus on the relationships that matter, that she should be paying more attention to. I hope it’s the beginning for her.

On a final note, I will say, I was relieved to see Stephen at least left behind Lucy’s purse.

White: That’s pretty funny.

Van Patten: I wish there was footage of him placing it there. Like, him hopping out of the car and carefully placing it. I always wondered if he parked in a place where he can see Lucy, just to see her reaction.

HE’s got almost 2 million followers on TikTok alone, has an army of A-list celebrity fans and now US comic Corey O’Brien is preparing to invade the UK.

After blowing up on social media post lockdown with his hilarious videos impersonating everyone from Dua Lipa and Justin Timberlake to the Spice Girls– who all shared his clips online – the 34 year-old former dancer’s comedy career has gone from strength to strength.

And next week he’s performing in London for his first ever UK show, much to the delight of both Corey and his legions of British fans.

“I’m a real anglophile,” smiles Corey, as he chats to The Sun from his home in Los Angeles.

“I’m really excited because I feel like my comedy goes across really well with a UK audience.

“I’m unhinged and have no filter, and I feel like you guys really get that. I have no boundaries, I say whatever the f*** I want to say and I think that’s quite a British sense of humour.”

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He may live 6000 miles away from Blighty, but Corey admits he avidly follows UK pop culture – whether it’s binging classic early seasons of Love Island with his former NFL star boyfriend Ryan K Russell (“we stopped having sex at one point because we were so obsessed with watching Hannah Elizabeth) to keeping abreast of every development of the Beckham family feud.

“I am so invested in that drama,” he confesses. “I’m team Posh, of course. If Victoria wants to come to crash my wedding, do a full dance number and make the night all about her, I wouldn’t hate it.

“She could slap me in the face in the middle of my vows and I would probably say thank you. She’s Victoria Beckham. She was my gay awakening.”

Indeed, when Corey impersonated all five Spice Girls for his own take on the iconic Say You’ll Be There video three years ago, he never expected it to get more than three million views and be shared by the legendary pop group’s official social media channels.

“I think I cried when that happened,” he confessed. “It was one of the most amazing things to ever happen. My boyfriend was upstairs at the time and I screeched as if someone was killing me. He was quite concerned.”

It’s not just iconic British girlbands that Corey is obsessed with though – during our chat he happily recounts his favourite moments from various UK Celebrity Big Brother series.

“Oh my god, I’ve watched all of Chris Hughes and JoJo Siwa‘s romance, I can’t get enough of Farrah Abraham‘s fight with Aisleyne Horgan-Wallace and of course Tiffany Pollard’s ‘David’s dead’ moment is my all time favourite,” he laughs.

“I’d love to do Celebrity Big Brother. If any casting people are reading it, get me on there! I’ll get nude if they want me too!”

Anyone who follows Corey on social media will know he’s more than happy to flash his naked buff body – either in the name of comedy or simply for a bit of a thirst trap.

“I’ve not said this publicly before, but I microdose Ozempic,” he confesses when asked about his increasingly toned physique, before admitting to making a big mistake when he started on the fat jabs.

“I ordered some off some random website for like $400 and, believe it or not, I’m not a doctor so I didn’t really understand the dosages,” he deadpans.

“The first time I took it, I shot up a whole month’s worth of it in one go and I didn’t realise. I lost like 12 pounds in a week and it was all muscle that I lost. So yeah, now I just do little microdoses here and there.”

And he’s more than willing to show off some skin when he hits Britain next week.

“I’ll show my nudes on stage, hell, I’ll show them in person for like 20 bucks,” he laughs.

“I need to make some money – the exchange rate is crazy right now!”

Corey O’Brien: Live In London is at the Top Secret Comedy Club in London on Monday February 23. Doors open from 5.30pm.

For tickets, book here

Reporting from Washington  — When Jim Asher, formerly the investigative editor in the Washington bureau of the McClatchy newspaper chain, tweeted Thursday that a former longtime aide to Hillary and Bill Clinton had “told me in person #Obama born in #kenya,” he set off yet another in the seemingly endless side debates over who is to blame for which seamy aspect of contemporary politics.

Evidence on the question is ambiguous.

Asher’s account about his conversations with Sidney Blumenthal has become a hot issue among political activists since last week, when Donald Trump finally admitted the falseness of the so-called birther theories that he pushed for more than five years.

As part of their statement announcing his climb-down, Trump’s aides pushed another false narrative — that it was Hillary Clinton’s 2008 campaign that had started the questioning of where Obama was born and whether he met the constitutional test for being president.

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There is no evidence that Clinton or her campaign ever raised that question, and her campaign fired one aide in Iowa who did circulate an email raising the issue. Some supporters of Clinton’s, however, certainly did raise the issue with reporters during the final stretch of the 2008 Democratic primary.

Blumenthal, whose penchant for spinning dark hypotheses long ago earned him the nickname “grassy knoll” — a reference to Kennedy assassination conspiracy theories — did not work for the 2008 campaign. But he has been close to both Clintons since Bill Clinton’s first presidential bid in 1992, so he would be more than just a random, unhappy Clinton supporter.

As a result, Asher’s statement provided grist for the Trump campaign’s position.

Blumenthal has denied Asher’s account.

Asher, in a statement, said that “on the birther issue, I recall my conversation with Blumenthal clearly,” but “I have nothing in writing memorializing that conversation.”

The written records that do exist and the recollections of people involved at the time leave the question unsettled.

Asher, who subsequently was McClatchy’s Washington bureau chief for five years, met with Blumenthal one day in the spring of 2008 at the McClatchy office in Washington, Asher recalled.

Two emails from that period show that Blumenthal sent tips to Asher about potential Kenya-related stories critical of Obama. But they do not include anything involving Obama’s birth.

A March 17, 2008, email said:

“Jim: On Kenya, your person in the field might look into the impact there of Obama’s public comments about his father. I’m told by State Dept officials that Obama publicly derided his father on his visit there and that was regarded as embarrassing and crossing the line by Kenyans for whom respect for elders (especially the father, especially a Muslim father, in a patrilineal society) is considered sacrosanct. Sidney.”

A second email, Asher said, involved possible “connections between Obama and Raila Odinga, who had described himself as Obama’s cousin and would run for president of Kenya” and links between Odinga and “controversial Muslim groups.”

The “person in the field” at the time was McClatchy’s Nairobi-based correspondent, Shashank Bengali, who is now a foreign correspondent for The Times. He looked into Blumenthal’s tips at the time and found they did not check out.

“Asher assigned me to look into everything related to Obama in Kenya,” Bengali said in an email.

“One of the things I researched was the false rumor that he was born in Kenya,” he said, “but I don’t remember where that tip came from.”

Bengali said that although Asher passed along some tips specifically attributed to Blumenthal, he did not recall any conversations in which Blumenthal’s name was linked to the birthplace issue.

“I can’t recall if we specifically discussed the birther claim,” he wrote Monday in an email to Asher, who contacted him after The Times and other news organizations asked Asher about his contacts with Blumenthal.

David.Lauter@latimes.com

For more on Politics and Policy, follow me @DavidLauter

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UPDATES:

2:53 p.m.: This article was updated to add Asher’s subsequent title as bureau chief.

The article was first published at 2:30 p.m.

ATHENS, Greece — Israeli producer Dana Eden, best known for co-creating the International Emmy-winning espionage thriller “Tehran,” has died suddenly in Greece, Israeli public broadcaster KAN said Monday.

Eden, 52, was found dead in a hotel in the Greek capital, Athens, a Greek police official said, adding that initial indications suggested she had taken her own life and there was no suspicion of foul play. The official spoke on condition of anonymity as Greek police do not comment publicly in such cases.

KAN said Eden was in Greece for the filming of the hit series’ fourth season.

“Dana was among the leading figures in Israel’s television industry and played a central role in the creation and leadership of some of the most prominent and influential productions within the corporation,” KAN said in a statement. It did not give a cause of death.

“Her professional work, uncompromising dedication, and love for creation left a deep mark on the Israeli Public Broadcasting Corporation. KAN shares in the deep sorrow of her family, friends and colleagues,” the broadcaster said.

In a statement posted on its Facebook page, Eden’s production company, Donna and Shula productions, sought to dispel rumors that the producer had been killed.

“The production company wishes to clarify that the rumors of a criminal or nationally motivated death are false and unfounded,” it said.

“This is a moment of great pain for the family, friends and colleagues. We ask that Dana’s dignity and the privacy of her loved ones be respected,” the production company said.

Israel Culture and Sports Minister Miki Zohar, in a social media post on X, said it was “with great sadness” that he had received the news of Eden’s death, describing her as “one of the most prominent and influential producers in the Israeli television industry.”

“Dana left a deep mark on Israeli creation and brought our story to international stages with pride, talent and courage,” Zohar said.

“Tehran,” which premiered in Israel and on Apple TV in 2020, tells the story of Tamar Rabinyan, a young Mossad operative tasked with hacking into and disabling the Iranian nuclear reactor so the Israeli military can carry out an airstrike. The show was named best drama series at the 49th International Emmy Awards in November 2021.

Eden started working in TV production in Israel in the 1990s, working on shows including comedy “Yom Haem” and crime drama “Magpie,” before finding international success with “Tehran.”

In 2018, her show “Saving the Wildlife” won best TV magazine for children and youth at the Awards of the Israeli Television Academy.

Kantouris and Becatoros write for the Associated Press. Kantouris contributed from Thessaloniki. Matt Kemp in London contributed.

Michael Silverblatt, the longtime host of the KCRW radio show “Bookworm” — known for interviews of authors so in depth that they sometimes left his subjects astounded at his breadth of knowledge of their work — has died. He was 73.

Silverblatt died Saturday at home after a protracted illness, a close friend confirmed.

Although Silverblatt’s 30-minute show, which ran from 1989 to 2022 and was nationally syndicated, included interviews with celebrated authors including Gore Vidal, Kazuo Ishiguro, David Foster Wallace, Susan Orlean, Joan Didion and Zadie Smith, the real star of the show was the host himself, the nasal-voiced radio personality who more than once in life was told he did not have a voice for his medium.

His show represents one of the most significant archives of conversations with major literary powerhouses from the late 20th and early 21st centuries.

But Silverblatt knew that he was as much a character as the people he interviewed.

“I’m as fantastical a creature as anything in Oz or in Wonderland,” he said during a talk in front of the Cornell University English department in 2010. “I like it if people can say, ‘I never met anyone like him,’ and by that they should mean that it wasn’t an unpleasant experience.”

Born in 1952, the Brooklyn native learned to love reading as a child when he was introduced to “Alice’s Adventures in Wonderland.” Neighbors would see him walking the streets of Brooklyn with his head in a book and would sometimes call his parents out of fear he might get hurt.

But until he left home for the University at Buffalo, State University of New York, at the age of 16, Silverblatt has said, he had never met an author.

His college, however, was filled with such famous authors as Michel Foucault, John Barth, Donald Barthelme and J.M. Coetzee, who were all working as professors.

Silverblatt was shy and too embarrassed to speak during class because of his inability to clearly pronounce the letter “L,” which appears three times in his own name. Yet he considered the authors to be his friends, even if they did not know it yet, he said during the Cornell talk.

He would approach them after class to speak about their work.

Despite his interest in literature, Silverblatt’s parents wanted him to become a mail carrier, he said. The summer after his freshman year, Silverblatt worked a New York City mail route, delivering letters to the mayor’s mansion on an Upper East Side route that took him past numerous old bookstores and used-books shops. During that job, he said in the Cornell talk, he purchased the complete works of Charles Dickens.

Silverblatt moved to Los Angeles after college in the mid-1970s and worked in Hollywood in public relations and script development.

Like many young writers in Los Angeles, he wrote a script that never got made.

It was in Los Angeles that Silverblatt met Ruth Seymour, the longtime head of KCRW.

Seymour had just returned to the United States from Russia and was at a dinner party where everyone was discussing Hollywood. There, she and Silverblatt became immersed in a one-on-one discussion of Russian poetry.

“He’s a great raconteur and so the rest of the world just vanished,” Seymour told Times columnist Lynell George in 1997. “Afterward I just turned and asked him: ‘Have you ever thought about doing radio?’”

For the next 33 years, that’s exactly what he thought about.

“Michael was a genius. He could be mesmerizing and always, always, always brilliant,” said Alan Howard, who edited “Bookworm” for 31 years.

“It’s an extraordinary archive that exists, and I don’t think anyone else has ever created such an archive of intelligent, interesting people being asked about their work,” Howard said. “Michael was very proud of the show. He devoted his life to the show.”

Silverblatt once dreamed of being on the other side of the microphone, as a writer in his own right, Howard said. But he faced bouts of writer’s block through his 20s and gave up writing.

“Eventually, he came to find peace with the reality of that,” Howard said.

Instead of writing, he became an accumulator of a vast amount of other writers’ work — in his library as well as the repository in his head. He had an incredible memory for the books he read.

Silverblatt converted the apartment next to his Fairfax apartment into a library where he kept thousands of books, Howard said.

“It was heaven,” he said. “It was a fabulous library.”

“He was such a singular person,” said Jennifer Ferro, now the president of KCRW. “He had a voice you would never expect would be on radio.”

Alan Felsenthal, a poet who considered Silverblatt a mentor, called Silverblatt’s voice “sensitive and tender.”

Felsenthal said the show was about creating a space of “infinite compassion,” where writers could share things they might not share in everyday conversation.

“Michael was one of a kind, truly singular. And his voice is too,” Felsenthal said.

One of the most important tenets of Silverblatt’s approach was that he not only read the book he was discussing on his show that day, but also read the entire oeuvre of the authors he interviewed.

“A significant writer would come in and be bowled over by Michael’s depth of vision of the work at hand,” Howard said.

David Foster Wallace, in one interview, said he wanted Silverblatt to adopt him.

Silverblatt said he strove to read an author’s entire body of work, but he never claimed to have read it all if he hadn’t.

“In general I try to read the author’s complete work. … That’s not always true, and I never say it if it isn’t true. But more often than not, I have, at least, read the majority of the work. And sometimes it’s a superhuman challenge,” he said in the 1997 Times column.

The voracious reader said that the best books, those that brought him happiness, were not the ones that ease our way in this strange and difficult world.

“The books I love the most made it harder for me to live,” he said.

Silverblatt is survived by his sister, Joan Bykofsky.

Pasadena Playhouse’s take on Peter Shaffer’s “Amadeus” may be the Tony Award-winning regional theater’s most lavish production to date.

The show, which opens Sunday, features a scrim that has been hand-painted with the notes of Mozart’s “Phantasie für eine Orgelwalze.” The entire process, done by a team of three, took eight days from start to finish. When the scrim is illuminated, the golden notes appear to be suspended like stars in the sky.

Mozart’s sister, Maria Anna “Nannerl,” handwrote many of the genius composer’s compositions, and Playhouse head painter Johnny LeBlanc said the group worked to create an exact replica of her strokes. That attention to detail at every level is emblematic of this elaborate show.

Director Darko Tresnjak (center) during “Amadeus” rehearsal at Pasadena Playhouse. Tresnjak is known for exploring the intellectual and emotional foibles of each character in a play.

(Ariana Drehsler / For The Times)

The play is as rich in talent as it is in design. It stars Broadway veteran and Tony winner Jefferson Mays as Salieri, Sam Clemmett as Mozart and Lauren Worsham as Constanze, and is directed by Darko Tresnjak, who won a Tony in 2014 for “A Gentleman’s Guide to Love and Murder.”

The red-and-gold, Baroque and Rococo aesthetics of the show, including the forced perspective of scenic designer Alexander Dodge’s set, which makes a royal room seem to disappear into the distance, were meticulously constructed to reflect the twisted interiority of Salieri as he grapples with his seething hatred for the scatological young upstart as it crashes against his cascading awe of Mozart’s divine music.

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“The entire play really takes place in a mental space,” Tresnjak said during a recent rehearsal. “That location is Salieri’s increasingly addled brain and what happens within that brain strikes me as eminently contemporary.”

Mays called “Amadeus” a “memory play,” noting that “every aspect of this production is exploring that — it’s all filtered through the warped, distorted memories and imaginings of its unreliable narrator.”

The Pasadena Playhouse has one of the few remaining on-site scene shops in the industry, and its staff of designers, carpenters and painters created elaborate wall sconces and candle holders that become smaller and smaller as they move to the back of the stage, toward two tiny doors in the center. At one point in the show, actor Matthew Patrick Davis, who plays Emperor Joseph II, steps through the doors.

“Amadeus” director Tresnjak says the key to his lavish productions is a strong community of artists, rather than a big budget. “It’s all smoke and mirrors,” he said.

(Ariana Drehsler / For The Times )

Mays describes the moment as “delicious” because Davis is quite tall and thin — even more so in his 2-inch, 18th century heels — and when he unfurls his body into the room and proceeds down the stage, the audience realizes what a gigantic figure he is in Salieri’s mind.

“It’s all shot through with these ‘Alice in Wonderland’ moments of surrealism,” Mays said. “It feels like a fever dream.”

Music is key to Salieri’s world, and the sound design by Jane Shaw strives to access the otherworldly power of Mozart’s music through layered backing tracks. An electric keyboard programmed to sound like a fortepiano is also embedded in a handcrafted instrument, which actors with musical training can play.

A fortepiano is being built for “Amadeus” at Pasadena Playhouse. A small electronic keyboard will be embedded within so actors with musical training can actually play it.

(Ariana Drehsler / For The Times)

Tresnjak has a long history directing with L.A. Opera and its departing music director, James Conlon, worked with Clemmett on conducting. He also gave the actor a history lesson about what the art form would have been like in Mozart’s time. Jeffrey Bernstein, the founding artistic and executive director of the Pasadena Chorale, drilled the cast on their chorale passages.

The key to creating such a richly textured theatrical environment is not a bloated budget, said Tresnjak, it’s engaging a whole community of artists — onstage and backstage — and giving them free reign to set their creativity loose. Pasadena Playhouse, which is known for being a resourceful company, made that easy, he added.

The show is buoyed by its classic stagecraft, with flats, escape stairs and rolling platforms. There is no computer automation and anything that moves is moved manually, said associate artistic director Jenny Slattery, pointing out the theater’s antiquated hand winches that control a mobile throne.

“There is something magical that comes from a resonance between the subject matter and the aesthetic and the behind-the-scenes techniques,” said Slattery.

A sketch and fabric swatch for Venticelli’s costume in “Amadeus” at Pasadena Playhouse. The costume is the same red as the set walls, so the character will seem to fade in and out of Salieri’s consciousness.

(Ariana Drehsler / For The Times)

Linda Cho designed the costumes and L.A. Opera fabricated the extravagant 18th century garments, which Slattery said have become a “staff tourist attraction.” The fabric was sourced in New York and shipped to L.A.; the ribbons were made by hand. Mays said he got giddy and breathless when he first stepped into his costume.

L.A. Opera fabricated the costumes for “Amadeus” with fabric sourced from New York.

(Ariana Drehsler / For The Times)

“It makes all the difference when you know that your sleeves are cut in a bias and your arms have to do certain things,” he explained. “I find a costume, particularly the costumes of this late 18th century period, to be so informative about physicality and how you move.”

In rehearsal, Mays fully inhabits his role — and his costume — moving with a lithe formality as he strives to eavesdrop on Mozart and Constanze. His revulsion and deep attraction are on full display. The actor said it is not his intention to play Salieri as a mustache-twirling villain, but rather as human, recognizable and understandable.

Details on the sleeve of a jacket made by L.A. Opera.

(Ariana Drehsler / For The Times)

“We are all Salieri to varying degrees,” Mays said. “What interests me are everyman aspects of him. The banality of his evil and the way that evil actions seem to always rise out of fear and insecurity.”

The lighting design by Pablo Santiago helps manifest Salieri’s uncomfortable emotions onstage.

“Darko is someone who likes to work in more of the intellectual, emotional space rather than realism. So a lot of it is about using the set in a more abstract way,” said Santiago. “It’s about shapes and color and creating full stage pictures that are interesting.”

The story of Salieri and Amadeus, said Mays, is one of twisted love. Salieri gets up every morning and tries to destroy that which he loves most. Playing the troubled antihero is “not altogether pleasant,” Mays said, “because you’re marinating in this cesspool of thwarted ambitions and inadequacy, but then you’re surrounded by this beauty that is a constant reminder of your own failings.”

When the curtain finally rises, the cast and crew hope the stage will be its own thing of beauty — its ambition fully realized.

From his first day attending classes at Harvard-Westlake’s middle school campus, which includes seventh- and eighth-graders, Louis Lappe was being recognized as a celebrity.

“A few of the seventh graders I guess they know me kind of,” Lappe said humbly.

Not kind of.

“Every day, I hear them,” freshman teammate Nate Englander said. “‘Are you Louis Lappe, the kid who hit the walk-off home run in the Little League World Series?’ Every grade, seriously.”

It’s time for the Louis Lappe Show to hit the high school ranks. The national hero as a 12-year-old who led El Segundo to the Little League world championship in 2023 is now 15 and set to begin his first year of high school baseball. He’ll be starting at third base for the Wolverines. He’s 6 feet 2 and is joined by two other top freshmen on Harvard-Westlake’s varsity team, the 6-2 Englander, an outfielder-pitcher, and the 6-2 Mateo Mier, a pitcher.

This reminds scouts of the spring of 2021, when Bryce Rainer, Tommy Bridges and Duncan Marsten started on the Wolverines’ varsity team as freshmen. Rainer became a first-round draft pick, Marsten is a standout pitcher at Wake Forest and Bridges went to Northwestern.

Englander still hasn’t forgiven Lappe for eliminating him and Sherman Oaks Little League in the 2023 regional playoffs.

El Segundo’s Louis Lappe celebrates as he rounds second after hitting a solo walk-off home run off Curacao’s Jay-Dlynn Wiel during the sixth inning of the Little League World Series championship game in 2023.

(Gene J. Puskar / Associated Press)

“Obviously, it was difficult at the time,” Englander said. “We’re boys now. It’s amazing to reconnect. It’s going to be fun.”

During fall and winter ball, Lappe displayed occasional power, similar to what he did as a 12-year-old that allowed him to hit five home runs at the 2023 Little League World Series, including his walk-off home run in the bottom of the sixth inning to beat Venezuela.

He had a .445 batting average in winter ball, second only to Vanderbilt-bound senior James Tronstein.

It’s still going to be a transition season for Lappe.

“It’s a whole new game. A whole new chapter I have to get used to,” he said. “The main thing will be getting used to the speed of the game. It’s much faster than 14-, 15-year-old travel ball. Everyone runs faster, throws harder. When we get used to that, we’ll be just fine.”

Lappe and Mier won gold medals during the summer playing for the USA 15U national team.

Mier is going to be placed immediately on the mound as part of a three-man starting pitching rotation used by pitching coach Joe Guntz to deal with some of the best hitters in the Southland.

“I think it’s more about finding your spot on the team,” Mier said. “It’s a team game. Travel ball is very self-centered. The challenge is learning how to pitch and not be a thrower. I feel coach Guntz is the right person to teach me that.”

All three look like they could be playing basketball or football with their physical statures. That will mark them early on as no ordinary freshmen.

“We’re in the Mission League, which is one of the most difficult and prestigious leagues in the country,” Englander said. “There’s a lot more talent, whether it’s guys throwing harder, hitting the ball farther.”

The Mission League has had an influx of outstanding players from the class of 2029, including Jordan Leon at Sierra Canyon and Brody Brooks at Loyola.

“I think we’ll hold our own,” Englander said. “We look the part. Hopefully we can play the part.”

Mark down Harvard-Westlake’s games against Loyola because the Cubs have four former El Segundo players on their team, including the manager, Danny Boehle. Imagine the trash talk that might be transpiring with Lappe on second base talking to Brooks, one of his best friends who plays shortstop.

“It will be fun to mess with them and also beat them,” Lappe said.

It’s going to be a memorable four years of high school baseball for Lappe and his fellow class of 2029 players.

SAVANNAH Guthrie is reportedly looking to quit The Today Show for good as she fears her fame made her mother a vulnerable target.

It comes just months after she filmed a segment for the show with her mother Nancy, 84, who has now been missing for two weeks.

Sources have said that the co-host is considering a permanent exit from the hit show after her mother was abducted from her home in Tucson, Arizona, at around 2am on February 1.

“This absolutely came out of the blue, and I think she’s really concerned that it was because of her job,” NewsNation’s Paula Froelich reported, citing sources. 

She added that Savannah, who is said to be a “mess” as the search for her mother enters its third week, fears her fame made her mother more of a target “with bad characters”.

Just months before she was taken, The Today Show filmed a segment with Savannah near Nancy’s $1 million home, which is now a major crime scene.

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In the NBC clip from November 2025, the mother-and-daughter duo paired up for a piece called “Savannah’s Arizona Homecoming” which also featured her sister Annie.

It documented the television star going back to her roots including her alma mater and El Charro, the oldest family-owned Mexican restaurant in America where she shared a meal with her family for the show.

“I have to come here every time I come home to Tucson,” Savannah said.

Her mother has featured in several segments for the show over the years since Savannah joined in 2012.

Despite admitting they are ‘exhausted’ by the search for Nancy, who is in poor health and in need of daily medication, cops have vowed they will find her and those responsible for her disappearance.

Investigators have now reportedly turned to high-tech scanners that can detect Bluetooth signals in an attempt to connect to Nancy’s pacemaker as they run out of leads and have no suspects.

A series of ransom notes sent to the family, law enforcement, and several news outlets are further muddying the waters, with a number of them turning out to be fake.

Fox News Digital reported that the Bluetooth devices have been attached to the bottom of police helicopters that are flying in low and slow, in grid-like patterns to try to locate her heart monitor device.

But, Pima County Sheriff Chris Nanos has said the search for Nancy could now go on for years as hopes seemingly begin to fade.

Earlier this week, investigators were seen combing through the grounds of her property, and searching inside a septic tank.

On Friday night, a number of people were reportedly detained in a SWAT raid at a nearby home after mystery DNA was recovered in the case, but cops later confirmed no arrests were made.

Meanwhile, investigators are still searching for the masked man captured in chilling doorbell footage taken from Nancy’s home on the night she vanished.

Federal agents have released new details about the suspect as they hope to cut down the number of public tips that have been called in with over 13,000 reported since February 1.

Officials are looking for a man who is around five-foot-nine-inches to five-foot-ten-inches with an average build.

He was seen in the footage wearing a black, 25-liter Ozark Hiker Pack backpack.

The reward for information that leads to an arrest and conviction in the case has been increased from $50,000 to $100,000.

Timeline of Nancy Guthrie’s disappearance

Nancy Guthrie, the 84-year-old mother of Today show co-anchor Savannah Guthrie, disappeared from her home on February 1, 2026.

Timeline:

• January 31: Nancy is last seen by her family
  • 5:32pm: Nancy travels to her daughter’s home for dinner, about 11 minutes from her own house.
  • 9:48pm: Family members drop off Nancy Guthrie at her home in Tucson. Her garage door closes two minutes later.
• February 1: Nancy is reported missing and a search begins
  • 1:47am: Nancy’s doorbell camera disconnects
  • 2:12am: Camera software detects a person moving in range of the camera. There is no video, and Nancy does not have a storage description.
  • 2:28am: Nancy’s pacemaker app disconnects from her phone, which is later found still at her house.
  • Around 11am: A parishioner at Nancy’s church calls the mom’s children and says she failed to show up for service.
  • 11:56am: Family members arrive at Nancy’s house to check on her.
  • 12:03pm: The family calls 911 to report Nancy missing.
  • 8:55pm: The Pima County Sheriff’s Office gives its first press conference and reveals some clues found at Nancy’s home caused “grave concern.” Sheriff Chris Nanos says helicopters, drones, and infrared cameras are all being utilized in the search.
• February 2: Search crews pull back. Nancy’s home is considered a crime scene. Savannah releases a statement thanking supporters for their prayers, which her co-hosts read on Today.
• February 3: A trail of blood is pictured outside Nancy’s home, where there were reportedly signs of forced entry. Nanos admits they have no suspects, no leads, and no videos that could lead to Nancy’s recovery. He and the FBI beg for more tips and accounts.
• February 4, 8pm: Savannah and her siblings release a heartbreaking video directed at their mother’s abductors asking for proof she is alive and saying they’re willing to work with them to get her back.
• February 5: FBI offers $50,000 reward for information on the case.
  • 5pm: First ransom demand deadline for millions in Bitcoin passes. Guthrie family releases demand to speak “directly” to the kidnappers, saying, “We want to talk to you and we are waiting for contact.”
• February 9, 5pm: Second ransom demand deadline, reportedly with “much more serious” conditions.

KATIE Price’s new husband Lee Andrews has teased a new reality show with his bride in a bizarre AI video.

The newlyweds – who tied the knot last month after just a week of talking online – are going at lightning speed through their relationship.

And now a new post on Instagram suggests Lee is looking to put things in front of a camera.

In the story titled: “Coming soon: Kate and Lee”, an artificial version of the pair are seen looking loved-up as they zoom through having dinner, and seeing the world landmarks including Rome’s colosseum and Christ the Redeemer.

The post comes just days after it was revealed a TV production company was “fuming” with Katie after throwing their planned documentary with her into chaos.

The three-part documentary was set to air in the spring on Sky, and was created by Louis Theroux’s TV production company Mindhouse.

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Katie Price teases new family addition with husband Lee Andrews after baby hint

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Katie Price leaves TV bosses fuming as marriage throws new show into chaos

A source close to the series told The Sun: “The whole focus of the documentary is meant to be this redemption arc for Katie showing a more serious, thoughtful side to the mum-of-five that people rarely see in her tabloid antics.

“So this latest turn in her life isn’t the kind of publicity they wanted.

“They feel like this out-of-the-blue marriage has thrown a real spanner in the works and totally changes the tone of the show, making the footage they have shot feel really out of date.

“A lot of it was filmed while she was still with JJ and she talked on camera about how much more settled she was with him.

“That all sounds a bit daft in light of what’s transpired recently.”

The insider continued: “She’s also meant to still be filming some new footage, but she’s flown off to Dubai again to be with Lee so it’s all very up in the air.

“It will take a lot of re-editing and they need to shoot some new footage if it will make it on the air for the planned April airdate.”

Katie is currently still in Dubai with Lee – where he lives full time – enjoying a honeymoon together.

Despite not even knowing each other at the beginning of this year, Lee has already shared a tattoo he has of Katie’s name and their wedding day.

The couple met online and got engaged, with Katie walking down the aisle for the fourth time in a secret ceremony when she flew out to meet him.

He’s since posted pictures hinting that they’re trying for a baby, noting “good things come to those who wait”.

Katie is already a mum to five children, but has made no secret of her desire to have another.

Last year, a documentary aired showing Katie’s efforts to go through IVF treatment with ex-fiancé Carl Woods.

Katie Price: Making Babies was filmed when Katie was engaged to Carl , 35 – who was less than impressed with the programme airing two years later.

At the time she was told that she had a less than 1% chance of being able to conceive, but decided to try anyway.

Katie later split from Carl and started dating Married at First Sight star JJ Slater.

They split just weeks before she flew to Dubai to marry Lee.

Whether you’re already on the inside or new to the party, the Canadian meta-comedy “Nirvanna the Band the Show the Movie,” about a music duo’s epic undiscoveredness, shows little audience favoritism as it ping-pongs between timelines, formats, realities, cultural shout-outs and its two indefatigable lead characters. Make that four leads, since director and co-writer Matt Johnson and his composer-best friend Jay McCarrol each play themselves twice, thanks to archival footage presented in this zippy mockumentary as evidence of time travel.

Don’t be confused. Or rather, be confused but adventurously so! Especially if you aren’t familiar with the cult web series from which this film derives. Indie-savvy viewers might know Johnson’s work from the moon-landing conspiracy lark “Operation Avalanche” or the cheeky docu-dramedy “BlackBerry,” both of which he directed and acted in. But there’s no getting around the fact that if you haven’t encountered them before, then for a good while they’ll come across as Motormouth Clown in a Fedora (Johnson) and Understated Guy at the Piano (McCarrol).

With three Ns to their band name (no relation to a slightly better-known group), a dream of booking Toronto’s longstanding live venue and only a cluttered suburban home to show for it, the duo’s act seems primarily to be coming up with boneheaded ideas for exposure. Johnson’s latest bolt of inspiration is for them to parachute from the top of downtown Toronto’s 2,000-foot CN Tower into the open Rogers Centre stadium below, a plan which meets with amusingly alarmed concern from a very real employee at the hardware store. It’s the first of many encounters with unsuspecting citizens, à la the oeuvre of Sacha Baron Cohen.

Though their stunt fails — yet succeeds for us as a piece of guerrilla filmmaking wizardry — it spurs Johnson toward an even crazier notion: time traveling in an RV to 2008 to change their fates and secure their inevitable fame. Think “Back to the Future” and think about it a lot, since from here on out, that 1985 classic becomes this movie’s lodestar of structural, comedic and musical reference. (McCarrol’s enjoyably overwrought orchestral score shouts out to composer Alan Silvestri.)

That the filmmakers could play against themselves using video of the 2008 versions of their characters (when they had the web series) is undeniably clever, if not always the laugh riot it promises to be. But it also helps foster the jealousy-driven farce that takes over the current-day narrative and is genuinely funny: a rejiggered timeline in which McCarrol becomes a massive pop star and Johnson gets left behind.

Invariably these wacky scenarios will be more amusing to longtime fans, for whom a frantic climax akin to the lightning-meets-DeLorean ending of “Back to the Future” will play like nostalgia for nostalgia. To the uninitiated, though, even amid steady laughter and a sneaking concern for this silly friendship to right itself, it may come off as much ado about who knows what.

But Johnson is nothing if not a punchy ringmaster of deadpan humor and his grab-bag mindset generates enough goodwill to appreciate the DIY brashness of it all. I’m one of those who had no clue of this act’s history and I’m fairly certain I’d look forward to “Nirvanna the Band the Show the Movie the Sequel.”

Gogglebox returned for another instalment but one cast member was nowhere to be seen

A beloved Gogglebox star was nowhere to be seen during the latest instalment and their family quickly explained why.

The long-running Channel 4 show returned to screens on Friday evening (February 13) for another episode. Back sharing their thoughts on the latest bits of telly were favourites like Pete and Sophie Sandiford and Ellie and Izzi Warner.

The Plummer brothers, Tremaine, Twaine, and Tristan, – who joined the programme in 2016 – returned too. But instead of the three of them, it was just Tremaine and Tristan sitting on the sofa.

On Instagram before the episode aired, the brothers explained why Twaine was missing. In the clip, they said: “It’s just the two T’s today as Twaine left us to go on holiday. So we’ve got a new member of the team now,” before picking up their adorable dog.

The post was captioned: “Meet the new member of the team… @trissy101 @trem_vi Brand new #Gogglebox tonight at 9pm on @channel4.”

Fans quickly flooded the comments section with support, and even Twaine replied and said: “Wish I was there,” along with sad face emojis. Someone else wrote: “Enjoy the holiday you are missed tonight.”

Another fan commented: “Happy Friday looking forward to watching you tonight. Hope he’s gone somewhere that’s sunny and dry.” A third follower declared: “He’s another good-looking Plummer I’m glad you’re back with us we don’t see enough of you guys.”

The Plummer brothers made their Gogglebox debut 10 years ago – and it didn’t take them long to become firm favourites with viewers.

Over the years, the brothers – who live in Bristol – have had fans in stitches thanks to their witty banter and one-liners and comical takes on the telly highlights.

Away from the TV show though, Tremaine – who is the eldest of the three siblings – presents a breakfast radio show on Bristol’s Ujima FM. Tristan has enjoyed a professional footballing career from 2007 too as well as other brother Twaine.

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Meanwhile Gogglebox welcomed several new faces to its cast last year, like Jake and Calum from Glasgow and the Gordon family from Surrey.

Other new stars included the likes of married couple Andrew and Alfie from the Cotswolds and mother-and-daughter-in-law team Sara and Lara from Yorkshire.

Gogglebox airs every Friday at 9pm on Channel 4.