show biz

JESY Nelson has revealed that she wanted to leave Little Mix after just two years of being in the band.

The singer, 34, joined the popular girl group after winning The X Factor in 2011, subsequently catapulting her into fame.

The group toured all over the world, accumulated numerous number one hits, and were only one year off celebrating their 10th anniversary as a band – when Jesy decided to call it quits.

But now Jesy’s shared that she actually wanted to leave Little Mix seven years sooner than she did.

Speaking on the Great Company with Jamie Laing podcast, Ms Nelson sat across the table wearing a knitted camouflage patterned zip-up.

Jamie praised her for having the courage to go her own way, and then she explained how doing that “had presented itself” way before she made the final decision to leave.

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“That [leaving] presented itself far before I made that decision,” Jesy said.

“There was a time where I was like ‘oh, I want to leave’ and I remember sitting down with my family… and it was actually because of my brother that in the end I stayed.”

She continued: “The first time I wanted to leave I remember I went home and we were kinda weighing up the [pros and cons]… and at that point we weren’t even like at our biggest.

“We were, it had only been like two years, but we were still big. Everyone still knew who Little Mix were so it was like ‘if you leave now, what are you going to do?’”

Her brother praised her strength, encouraging her to stay, but also encouraging her to make as much money as she could off of Little Mix‘s fame.

“My brother was like ‘you are so much stronger than you give yourself credit for and I think you can stick this out for another few years.’

“I’m going to be completely honest about what he said, he said ‘just make as much money as you can, you’ve got a chance to really change your family’s life. If somewhere in you can do this for another few years, do it, and then leave, because you’ll never get this opportunity again.’”

Jesy continued to note that her brother “was right” and said she’s now grateful that she stayed and could “change her family’s life” – including getting extra treatments for her twin girls.

She gave birth to Ocean and Story last year and heartbreakingly discovered that they both have spinal muscular atrophy type 1 (SMA), and may never learn how to walk.

If SMA is caught early preventative treatments can assist newborn’s quality of life. However, the symptoms weren’t realised instantly in Jesy’s children, who will now suffer with unknown permanent difficulties.

Jesy did get her twins the treatment they needed, but they were at that point around 8 months old.

The brave mother has since been rallying for SMA screening to be mandatory after every birth to stop the 50 babies per year born with it from suffering.

Around the time of the devastating diagnosis Jesy and her partner Zion called time on their relationship.

They continue to co-parent their daughters during an incredibly tough time.

A few months back, a discussion broke out in the De Los chat about whether or not Bad Bunny would win album of the year at the 68th Grammy Awards for his LP “Debí Tirar Más Fotos.”

I was firmly in the “yes” camp from the day the nominations were announced and I was right!

But if I’m being honest, I had my doubts that it would happen until the second that presenter Harry Styles called out the Puerto Rican singer’s name Sunday night.

Those in the “no” camp — who were still rooting for him to win — had history in their favor. It’s so rare for any major awards show, but especially the Grammys, to recognize artists at the peak of their powers. It’s almost as if these voting bodies feel that some (usually Black) artists must go through a weird humiliation ritual before being deemed worthy.

In 2015, Beyoncé’s self-titled LP lost album of the year in favor of Beck’s “Morning Phase.” She was overlooked again when Adele won album of the year for “25” over her seminal album “Lemonade” at the 59th Grammy Awards. Her club classic “Renaissance” also missed out on the top prize in 2023, with Styles’ “Harry’s House” taking home the award.

Rapper Macklemore won the rap album Grammy over Kendrick Lamar’s “good kid, m.A.A.d. City” at the 56th iteration of the award ceremony. At the 2016 Grammys, Lamar’s deeply layered LP “To Pimp a Butterfly” lost album of the year to Taylor Swift’s “1989.” Mumford & Sons’ “Babel” won album of the year in 2013 over Frank Ocean’s “Channel Orange.”

The anti-Blackness in the Recording Academy — the voting body that chooses Grammy winners — cannot be understated.

But in a rare move the voters, which included the Latin Grammy Awards’ voting body for the first time this year, chose the album that actually reflected the cultural zeitgeist.

Really it was less so that I believed Bad Bunny would win as much as I felt that he needed to win.

The past year has been exceedingly trying for the Latinx community as Immigration and Customs Enforcement raids have been conducted throughout the country. It has oftentimes felt as though being Latinx — looking a certain way, speaking Spanish, having certain names — is a crime. I don’t know how many times I’ve seen videos of or heard heartbreaking stories of Latinx people being separated from their families, harassed or even killed due to activities of federal agents.

So even if it was just a moment of recognition for Bad Bunny, I had a lot riding on one win for Latinx people. A win for an album that is unapologetically in Spanish, explored ideas of resistance toward colonization and dared to be joyful, would mean something to me.

When he won, I had the same reaction as him. I couldn’t believe it and I cried — genuine tears in my Latina eyes.

It felt like an acknowledgment that Latinx people exist and matter. I was also moved when he explicitly shouted out immigrant and Latinx communities. There was just something that felt radical, too, in him giving the majority of his acceptance speech in Spanish.

De Los writer Andrea Flores also had faith in Bad Bunny’s Grammys viability from the very beginning.

“I knew Bad Bunny was going to win big at the Grammy Awards the moment he released this album,” she told me. “Bad Bunny made music for Puerto Rico, and the world listened.”

“I cried when I saw that Bad Bunny won album of the year. For me, it felt like sweet vindication for Latinx artists — reggaetoneros, more specifically — who have long been ignored, and at times vilified, by mainstream media for so many years. But what made me even more emotional was seeing posts on X showing Bad Bunny in 2016 as a bag boy at a local Puerto Rican supermarket. He looks familiar in that picture, like a cousin, brother or childhood friend. That was only 10 years ago. It’s proof to me that so much can change if you believe in your art and in yourself.”

It’s weird that a Latinx artist from an American colony is the most powerful cultural figure in the country at the same time that Latinx people face the most tenuous situation in the U.S. that I’ve seen in my life.

When Bad Bunny takes the stage for the Super Bowl halftime show on Sunday, I wish he’d get up there and call out ICE again on an even-bigger stage or do some kind of spectacular act of protest against the vile political class that has always and continues to push through discriminatory policies against non-white communities.

It’d be awesome if that happens, but even if it doesn’t, there will still be something profoundly radical about him simply being there and performing exclusively in Spanish.

(Jackie Rivera / For The Times; Martina Ibáñez-Baldor / Los Angeles Times)

The latest on Trump’s immigration enforcement

(Joel Angel Juarez / Getty Images)

After killing two U.S. citizens, forcibly extracting immigrants and using force against protestors, some 700 federal agents are being pulled out of Minnesota. About 2,000 officers will remain in the state, White House border czar Tom Homan said early this week.

On Tuesday, immigration officers in Minneapolis pulled their guns on and arrested protestors who were trailing their vehicles, the AP reported.

Meanwhile, my colleague Gavin J. Quinton reported that the Senate isn’t “anywhere close” to reaching an agreement on ICE funding, as Democrats demand “nonnegotiable” ICE reforms.

In some good news, Liam Conejo Ramos — the 5-year-old from Minnesota who was famously photographed wearing a bunny hat and Spider-Man backpack while detained by ICE agents — and his father, Adrian Conejo Arias, were released from a detention facility in Dilley, Texas and are back home in Minnesota.

The duo was released thanks to a ruling from the U.S. District Judge Fred Biery.

“[T]he case has its genesis in the ill-conceived and incompetently-implemented government pursuit of daily deportation quotas, apparently even if it requires traumatizing children,” the judge wrote in his ruling.

Stories we read this week that we think you should read

Unless otherwise noted, stories below were published by the Los Angeles Times.

Politics and Immigration

Arts, culture and entertainment

Latin America

CHANTELLE Houghton has revealed she’s got a new boyfriend after being celibate for over two years.

The 42-year-old has seen a number of relationships play out in public after rising to fame on Celebrity Big Brother in 2006.

Chantelle had entered the Big Brother house as a non-celebrity but had to pretend she was in a girl band.

She won the hearts of viewers and it lead to her winning the series, and becoming a fixture on TV and in the press.

But being in the spotlight made it hard for her relationships, with her whirlwind marriage to CBB co-star Preston falling apart after just 10 months.

Over the years she has also dated TV presenter Rav Wilding and has a daughter with Katie Price‘s ex-husband, Alex Reid.

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In 2021, Chantelle split from her fiance Michael Strut, after things fizzled out when they moved in together during Covid lockdown.

So for the last few years, Chantelle has focused on being a mum, and admitted in past interviews she was celibate.

But in an exclusive chat with The Sun Online, Chantelle has now revealed she’s in a new relationship with a mystery man.

She said: “I think my smile says it all. I have met someone. He’s not in the public eye, but that’s all I’ll say.”

Explaining her reasons for keeping her new romance under wraps, Chantelle said: “I feel like all of my relationships have been public.

“The two relationships I had before Big Brother were the only ones that were private, but they weren’t really proper relationships because I was so young.

“Every relationship I’ve had since has been in the public eye, and hasn’t been mine, almost. Especially with Preston.

“Preston and I were everybody’s, and I get it. I understand why people were invested, and I totally found that flattering, but it was hard.

“It definitely put a strain on the relationship, and that was one of the biggest challenges we faced.”

As well as being happy with her new man, Chantelle is also content with her body after years of diets.

Chantelle, who is working with Betway, explained: “I’m really happy with myself, and I feel great.

“When I was younger, I did the Special K diet, I did the cabbage soup diet, and I even did the ‘not-eating’ diet.

“I actually saw something the other day on TikTok that said, ‘Here’s to all the Special K breakfast diet survivors.’ I was one of them!

“I think back then, you really believed you could only get slimmer by going to extremes.

HEALTHY DIET

“We just didn’t have the knowledge we have now about diet and exercise.”

Last year, Chantelle revealed she had lost five stone through diet and exercise and she said: “These days, I’m so much healthier.

“I enjoy the food I eat, and I’m slim, whereas back then it felt like you had to starve yourself to get thin.

“Looking back, it’s actually very simple. Eat healthily, move more, and you’ll lose weight. But we didn’t see it that way at the time.”

Bad Bunny is constantly making history. Last Sunday he broke a new record by winning album of the year at the Grammys for his 2025 album, “Debí Tirar Más Fotos,” which was the first fully Spanish-language album to claim the title; and come Feb. 8, a.k.a. Super Bowl Sunday, he’ll be the headlining act at the Super Bowl halftime show.

Yet he is also teaching history. Bad Bunny’s latest record is not only a celebration of Puerto Rico and its people, but it offers a window into some of the challenges the embattled territory is currently facing — including massive migration, displacement and an infrastructure on the brink of collapse. In a moment when education is under attack, both in the United States and Puerto Rico, Bad Bunny is using pop culture’s biggest stage to offer the world a history lesson. And in this political context, that matters greatly.

In December 2024, I was contacted by Bad Bunny’s team to produce 17 pages outlining Puerto Rican history, to pair with each song’s YouTube visualizer for “DTMF.” Altogether, they have been viewed more than 775 million times.

I later produced 40 slides jam-packed with historical and cultural facts about Puerto Rico, which were screened at Bad Bunny’s 31-show residency in San Juan. These ranged from facts about the history of women’s suffrage to the founding of Puerto Rico’s oldest punk band, La Experiencia de Toñito Cabanillas.

When Bad Bunny was announced as the NFL’s choice to headline the halftime show, I was hardly surprised by the backlash from conservatives — including multiple Fox News hosts, podcasters and even President Trump, who said, “I don’t know who he is. I don’t know why they’re doing it … [It’s] crazy.”

As communities of color celebrated on social media, critics raised two questions: Why would a Spanish-speaking artist — even if he is the most-streamed artist on Earth — be chosen for that stage? And why wouldn’t they choose a more patriotic, Anglo-American artist?

While undoubtedly xenophobic in nature, these questions highlight their acute ignorance about the place that birthed Bad Bunny, and its ongoing entanglement with the United States.

Puerto Rico was first colonized by the Spanish from 1493 until 1898, the year that the United States occupied the country as part of the Spanish-American War. Later, in 1917, Puerto Ricans became U.S. citizens through the Jones Law. Eventually, we drafted a constitution and became a Commonwealth of the United States in 1952. But there is never one single historical narrative.

What these facts occlude, however, is that Puerto Ricans are second-class citizens who cannot vote for the president — and those in the archipelago are not fully protected by the U.S. Bill of Rights. According to the U.S. Supreme Court’s early-20th century Insular Cases, we belong to the United States, but we are not part of it.

Put simply: We are a colony of the United States in the 21st century.

When drafting the historical narratives for “DTMF,” Bad Bunny understood that Puerto Rican history is often unknown, even to our own people. He was interested in making history available for those who don’t have access to higher education. He wanted me to write these narratives in a candid manner to be read by people in the barriadas y caserios (working-class neighborhoods and the projects). These were the places where I came of age in Puerto Rico.

With the success of “DTMF,” Puerto Rican history was amplified to the world. I’ve had countless conversations with journalists from around the globe, who marveled at how little they knew about Puerto Rico’s history or its relationship to the United States. This is precisely what I think drives those debates about language and who gets the right to claim Americanness — a lack of information.

And even though Bad Bunny is a U.S. citizen, conservatives have organized an alternative “All-American Halftime Show,” which reveals how “Americanness” is policed through language and race. This is the product of willful ignorance.

Puerto Rico’s history is also that of Latin American, Caribbean, United States and Latinx communities. I believe Bad Bunny’s performance will invite people to understand the beauty and complexity of our people’s history, even if it makes outsiders uncomfortable. That he will also be doing so entirely in Spanish in a moment when Latinx people in the United States are being arrested or interrogated by federal agents for speaking in Spanish — or simply for having an accent? That matters.

Of course, artists alone will not save us from the perils of racism and xenophobia — I learned that from my time in the punk community. We cannot just wait on anyone, especially not celebrities, to change institutions without some people power to back them up.

Yet given his enormous reach — just this week his latest album hit No. 1 on Apple Music in China — Bad Bunny has the power to move the cultural needle. And if there’s one thing to take from the Grammys ceremony last Sunday, it’s that he’s not alone — other artists have taken a stand on anti-immigrant violence. They are living up to the moment. That matters too.

So while conservatives organize their bland counter to the Super Bowl halftime show — with none other than Kid Rock as headliner — Bad Bunny will be offering the world a much more valuable history lesson, full of sazón, batería y reggaetón.

Jorell Meléndez-Badillo is the author of “Puerto Rico: A National History” and associate professor of Latin American and Caribbean History at the University of Wisconsin-Madison.

MILAN — Mike Tirico was baptized on the day of Super Bowl I.

Sunday, the NBC play-by-play announcer will be baptized by fire.

Not only will Tirico call the Super Bowl for the first time, but he will stay on the Levi’s Stadium field after the game to remotely host Sunday night’s coverage of the Winter Olympics.

From football’s mountaintop to the majestic peaks of Northern Italy, it’s an unprecedented double play in the broadcasting business.

“We’ll keep the Super Bowl celebration threaded into the Olympic show — confetti, family moments, that sort of thing,” said Tirico, 59, who worked both events four years ago but didn’t call that Super Bowl at SoFi Stadium, instead hosting the pregame show.

“What I learned from Super Bowl LVI is that it’s possible to do this without cheating either job.”

Maybe so, but it requires the extraordinary organization and preparation for which Tirico is famous within the network. Each year, he distributes to colleagues a color-coded calendar — a different color for every sport he’s covering that day — and the patchwork on every page looks like the Partridge family bus.

“Mike is the world’s best multitasker,” said Rob Hyland, coordinating producer of “Sunday Night Football.”

“This is in his DNA. It’s how he’s wired.”

Even for Tirico, however, the task is ambitious. The day after calling the Rams’ divisional playoff game at Chicago, he boarded a flight for Italy to check out the NBC studios in Milan. It was all part of getting comfortable with the setup.

On Super Bowl Sunday, hours before the Seattle Seahawks and New England Patriots take the field, Tirico will be up at 4:30 on the West Coast to watch Lindsey Vonn in the women’s downhill. He then will try to get back to sleep to prepare for his long day of football, knowing he will be running on adrenaline deep into the night. At halftime, he’ll carve out a few minutes to get up to speed on what’s happening in Italy.

On Monday, he and others from NBC will fly to Milan, with Tirico beginning his in-studio Olympics coverage Tuesday.

Tirico is just the 13th play-by-play announcer to call a national Super Bowl broadcast. He said Sunday will be like being back at Syracuse and taking three final exams in one day. He figures he will graze his way through the day but doesn’t plan to sit down for a meal, per se.

“They always say you should be slightly hungry when you take a test,” he said. “I subscribe to that theory on game day.”

Whereas preparation for the Super Bowl begins the moment the participating teams are determined, Tirico said his work on the Olympics has been years in the making.

“You want to be prepared but not over-prepared,” he said, referring to both events. “You want to know the important things you can get to during the game.”

The key is to use the information judiciously without overloading the audience with facts and statistics.

“With all that detail and information as granular as he can get, he never loses sight of what’s important for a mass audience,” Hyland said. “Mike is a unicorn. He’s one of one.”

As for Hyland, he’s one and done. After the Super Bowl, he will head home to Connecticut and become part of said audience.

“I’ll be playing the role of dad back on my couch in Southport with our six-month-old baby boy,” he said. “I’ll be watching the Olympics as a fan.”

In a sense, Tirico is a fan, too. There’s still a kernel of disbelief that this is his job.

“This is the thing that happens after you stop dreaming,” he said. “Because your dreams never let you get this far.”

MOLLY-MAE Hague has revealed exactly how many months pregnant she is – and she’s much closer to giving birth than anyone thought.

The former Love Islander shared the happy news she is expecting her second child with Tommy Fury on Thursday evening.

Molly-Mae, 26, quietly broke the news to family and close pals months ago, but shared a surprise video with fans on Instagram, which showed her revealing her bump.

However, she has now gone into more detail about her pregnancy and confirmed she’s actually six months pregnant already.

Taking to Instagram on Friday, she shared a snap from her L’Oreal catwalk in late September and wrote above it: “Little baby with me in this moment…and I didn’t even know.”

She also reshared her pregnancy announcement video and wrote below it: Nearly 6 months on….and it still hasn’t sunk in.”

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Molly-Mae then shared a video from last weekend showing her growing bump in a black top and jogger bottoms as partner Tommy bent down to kiss her stomach.

Molly-Mae, who also has three-year-old daughter Bambi with Tommy, had filmed her pregnancy reveal video on January 23, and captioned it: “Soon to be four.”

However, some fans had guessed she was pregnant the week before, when they spotted her reflection in the window of one of her videos.

Molly dropped various clues about her pregnancy before announcing the news, which is said to have strengthened her relationship with Tommy after they got back together early last year.

A source told The Sun: “Finding out Molly is pregnant has really helped bring them close together again.

“Tommy is determined to do things right this time he has cancelled all of his summer trips with his friends, as he wants to stand by Molly every step of the way.

“Their new home is in a better place for both of them and has more than enough space for two children.”

However, the star hasn’t been able to avoid being trolled over her second pregnancy.

Taking to Reddit, the cruel users gathered to compile a list of reasons why Ms Hague shouldn’t be welcoming baby number two.

“If it makes her happy, then it’s good but Molly seemed to be quite overwhelmed with one child considering she basically hinted that Tommy is always at events or away from home anyway. Obviously, that comes with his job.”

“Knew it would happen but still is so disappointing as a molly Stan,” said another.

A third added: “The concept of having a second child when you can’t handle the one you already have is abysmal.”

Molly has been open online about the struggles she’s faced as a first-time mum to her daughter Bambi, 2.

From noting Bambi’s challenging behaviour when she was on holiday in the Maldives to at times feeling like Bambi “hates” her, she’s documented the ups and downs – and then been further accused of giving Bambi no privacy.

Finneas O’Connell took to social media to defend Billie Eilish and her Grammys acceptance speech from a specific demographic that was angered by her remarks.

“Seeing a lot of very powerful old white men outraged about what my 24 year old sister said during her acceptance speech,” O’Connell wrote Wednesday on Threads. “We can literally see your names in the Epstein files.”

The sibling duo won the Grammy for song of the year Sunday, becoming the first ever three-time winners of the category. The “Wildflower” songwriters were among those wearing “ICE Out” pins at the 2026 Grammy Awards as a statement against the Department of Homeland Security’s immigration-enforcement agency and its tactics after the killings of Renee Good and Alex Pretti in Minnesota sparked a national outcry.

“No one is illegal on stolen land,” Eilish said while accepting the award. “It’s just really hard to know what to say and what to do right now. I feel really hopeful in this room and like we just need to keep fighting, speaking up and protesting. Our voices really matter.”

While some of her speech was censored during the live broadcast, Eilish was also heard saying “F— ICE,” drawing cheers from those in attendance.

Eilish was one of many artists who used their moment on the Grammys stage to speak out against the Trump administration and the federal immigration raids that have been happening in multiple states, including California. Some, including R&B song and performance winner Kehlani, were just as direct in their language condemning ICE. Other winners, including Bad Bunny and Shaboozey, used their speeches to celebrate immigrant communities.

The adage that records are made to be broken definitely applies to the TV ratings for the Super Bowl.

For three straight years, the game deciding the champion for the NFL season has set new viewing records, including last year’s Philadelphia Eagles crushing victory over the Kansas City Chiefs 40-22 that scored an average audience of 127.7 million viewers on Fox.

Both the 2024 and 2025 games had the benefit of the pop culture sizzle generated by Chiefs tight end Travis Kelce’s romance with pop superstar Taylor Swift, bringing in more casual fans.

This season, the Chiefs won’t be in the game for the first time in three years as NBC will have the Seattle Seahawks facing off Sunday against the New England Patriots in Super Bowl LX, not the match-up experts predicted for this year.

But that doesn’t mean it can’t set another ratings record.

Kansas City tight end Travis Kelce and Taylor Swift celebrate the Chiefs’ victory over the Buffalo Bills in the AFC Championship on Jan. 26, 2025, in Kansas City, Mo.

(Charlie Riedel / Associated Press)

“I believe it can,” said Lee Berke, president of LHB Sports, Entertainment & Media, noting the lift the NFL ratings have seen this season as viewing information from set-top devices and internet connected televisions in 45 million households are now included in Nielsen’s audience measurement.

“It’s definitely showing up and bumping up ratings throughout the year for the NFL,” Berke said.

A recent report from the Video Advertising Bureau found that the new measurement from Nielsen has boosted ratings for prime time NFL games in the mid-to-high single digit percentages.

Other changes to Nielsen’s measurement in recent years have given the Super Bowl a boost. While surpassing 100 million was once a reasonable goal, the numbers started climbing above that threshold since out-of-home viewing was added in 2021.

History is on the side of a robust audience number this year. The last time the Patriots faced the Seahawks in 2015, the NBC telecast set a viewership record at the time of 114.4 million. Fans watching Sunday can expect to see clips of Malcolm Butler’s interception at the goal line that helped give Tom Brady’s Patriots the win that year.

But NBC doesn’t need a record audience number for the Super Bowl to be a financial success. A robust TV advertising marketplace helped the network sell out the game at a record average of $8 million per 30-second spot, with some going for $10 million.

NBC has also sold spots that will air only on its Peacock streaming platform. The network pulled in the range of $3 million a spot, significantly above the $2 million Fox took in for ads last year when the game was streamed on its Tubi service.

This year NBC was able to use Super Bowl LX to drive ad sales for its coverage of the Winter Olympic Games in Milan that begin Friday and run through Feb. 22, (which is also sold out). The network also has the NBA All-Star Game at the Intuit Dome in Inglewood on Feb. 14, which is why Mike Cavanaugh, co-chief executive of NBCU parent Comcast, recently described February as “the most consequential month in live sports history.”

In 2022, NBC’s combination of both the Winter Olympics and the Super Bowl, accounted for $1.5 billion in revenue according to Comcast’s earnings report, a number the company will likely surpass this year. The company isn’t commenting on revenue but has said it expects to set a record for Super Bowl ad revenue.

Mark Marshall, chairman of global advertising sales and partnerships for NBCUniversal, said 70% of the companies in the Super Bowl are also running commercials in the Olympics.

In previous decades, a Super Bowl commercial was an event in itself with the reveal happening on the telecast. But Marshall noted that, as part of a larger marketing effort, advertising campaigns are now introduced with teasers ahead of the telecast and many get a full preview online.

This year, NBCU was able to offer the Olympics to help marketers connect with more consumers.

“We told advertisers ‘you’re going to spend eight figures (on producing a commercial) — extend the reach of that,” Marshall said.

Technology companies make up the largest share of advertisers. Several AI companies, including Anthropic and Genspark, will be first-time Super Bowl ad buyers. Viewers will also see returning entries from Google, Meta, Wix and Amazon, which will air a spot for its Alexa device.

While there are the usual array of snack food and soft drink companies that will appearin the commercial breaks, viewers will also see a spurt in pharmaceutical ads. Marshall said the category has increased its presence on NFL games. The Super Bowl spots will focus on a message of “wellness,” rather than straight ahead product spots with disclaimers listing unpleasant drug side effects.

Marshall said NBCU does not expect the announced alternative halftime show presented by Turning Point USA to have an impact on the ratings. A concert featuring Kid Rock and lesser known country artists Brantley Gilbert, Lee Brice and Gabby Barrett, will stream on YouTube, X, Rumble and several right-wing TV channels.

The concert promoted by the right-wing group founded by the late Charlie Kirk and now run by his widow Erika is in response to conservatives outraged over the NFL’s selection of Grammy-winning music superstar Bad Bunny, who sings primarily in Spanish, as the halftime act. (President Trump called the decision “terrible” and is skipping the game.)

But the league has not wavered for a moment amid the blowback, as it seeks to expand its global reach by having the most streamed artist in the world on the stage of its marquee event.

The only effective counter-programming gimmick against the Super Bowl halftime show came in 1992. Fox, still an upstart network, ran a live edition of its sketch comedy show “In Living Color” against the halftime of the CBS telecast of Super Bowl XXVI, which featured ice skaters Dorothy Hamill and Brian Boitano.

The pronounced dip in viewership prompted the NFL to sign Michael Jackson as the halftime act in 1993. The game saw a significant ratings boost and the league has booked contemporary music acts for the game ever since.

MOLLY-MAE Hague dropped a giveaway clue that she was pregnant with her second child a WEEK ago – but did you spot it?

The influencer, 25 and boxer Tommy Fury, 25, shared their happy baby news with a surprise video on social media yesterday.

Molly posted a sweet black and white clip on Instagram filmed on January 23, captioning it: “Soon to be four.”

In the clip, the YouTuber showed off her growing baby bump in a white cropped t-shirt.

But some eagle-eyed fans have said that they spotted Molly’s baby bump last week in her latest vlog.

In the video, Molly wore a black long sleeve top and filmed a clip from her kitchen, in front of a glass refrigerator door.

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Her fans were quick to zoom in and spot Molly’s noticeable baby bump in the reflection.

During the same vlog, Molly admitted she was having nose bleeds again, which was common during her first pregnancy with daughter Bambi.

On Thursday, Molly shared a sweet video with Tommy and three-year-old daughter Bambi, who excitedly wore a “big sister” jumper.

Molly expressed her desire to expand her family with Tommy in scenes aired on her Amazon Prime documentary in January.

Molly dropped various clues about her pregnancy before announcing the news, which is said to have strengthened her relationship with boxer Tommy.

A source told The Sun: “Finding out Molly is pregnant has really helped bring them close together again.

“Tommy is determined to do things right this time he has cancelled all of his summer trips with his friends, as he wants to stand by Molly every step of the way.

“Their new home is in a better place for both of them and has more than enough space for two children.”

The couple co-parented Bambi following their messy split in August 2024 – following reports Tommy cheated on her during a lads’ holiday.

Molly spoke candidly about hopes to expand her family with boxer Tommy during the first instalment of her Amazon Prime documentary, Molly-Mae: Behind It All, which aired to viewers last year.

Opening up about the future, she revealed: “All I want in this life is to be with him, and to have another baby with him, and to grow old as a family. And to live in a nice house together and have a nice life together. That’s all I want.”

In the most recent drop of episodes last month, Molly left her home in Manchester to live with the boxer, which was around the time they found out about Molly’s pregnancy.

Molly explained that after their breakup, she temporarily moved back into her original home while they figured things out.

“When Tommy and I split up I moved back to the original house so I moved for a short amount of time, like not even long enough to tell you guys, and I was just about to tell you but then sadly our relationship ended,” she said.

“It was even more of a hard time than anyone realised because my house was completely empty. I had people coming to view it to rent it. So yeah I moved house and no one knew. So that was all going on among everything. It was a lot of turmoil. It was shambles.”

AMANDA Holden ditched her bra and a showed off her slim waist in yet another stunning work outfit.

The Heart Radio star, 54, looked chic as ever in a pale blue long sleeve top with a dark red rim and teamed with a brown suede skirt.

Amanda mentioned that the colours were also nod to football team Aston Villa.

The BGT judge was seen strutting through the corridors as she gave fans a rundown on her outfit, which was from designer Karen Millen.

Amanda then posed for a toilet selfie which showcased her braless look.

The TV star often showcases her stylish looks on social media.

READ MORE ON AMANDA HOLDEN

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Alan & Amanda’s Corfu home refurb set to make huge sum as it hits market

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Amanda Holden emotionally opens up about losing her stillborn son Theo

But just last week, she revealed she once prepared a Sunday roast in front of her family — while naked.

Amanda said she stripped off while cooking the meal because it was a hot day.

And she added that her two daughters Lexi, 19, and Hollie Rose, 13, were used to seeing her without clothes.

She told the Table Manners podcast: “You know on the cusp between winter and summer where you have to give up roast dinners and turn it into a barbecue?

“My whole family moan about Sunday roast, but I make them have it, and then this one particular Sunday it was boiling hot so I did just strip off and cook everything naked.”

She said husband Chris Hughes, 51, “enjoyed it”.

But she added: “I didn’t eat naked.

“I always don’t mind being naked.”

Amanda recently admitted her boobs have grown – and shared the very unusual reason why.

While filming with close pal Alan Carr for their BBC series Amanda and Alan’s Greek Job, Amanda‘s chest became the topic of conversation.

Alan pointed out: “Your breasts have got bigger since the last one.”

Amanda, wearing a low-cut summer dress, replied: “They have. It’s because of the Saganaki cheese.”

Funnyman Alan quickly quipped, “Have you just been rubbing it straight in?,” prompting Amanda to burst out laughing.

As film and television post-production work has increasingly left California, workers are pushing for a new standalone tax credit focused on their industry.

That effort got a major boost Wednesday night when a representative for Assemblymember Nick Schultz (D-Burbank) said the lawmaker would take up the bill.

The news was greeted by cheers and applause from an assembled crowd of more than 100 people who attended a town hall meeting at Burbank’s Evergreen Studios.

“As big of a victory as this is, because it means we’re in the game, this is just the beginning,” Marielle Abaunza, president of the California Post Alliance trade group, a newly formed trade group representing post-production workers, said during the meeting.

The state’s post-production industry — which includes workers in fields like sound and picture editing, music, composition and visual effects — has been hit hard by the overall flight of film and TV work out of California and to other states and countries. Though post-production workers aren’t as visible, they play a crucial role in delivering a polished final product to TV, film and music audiences.

Last year, lawmakers boosted the annual amount allocated to the state’s film and TV tax credit program and expanded the criteria for eligible projects in an attempt to lure production back to California. So far, more than 100 film and TV projects have been awarded tax credits under the revamped program.

But post-production workers say the incentive program doesn’t do enough to retain jobs in California because it only covers their work if 75% of filming or overall budget is spent in the state. The new California Post Alliance is advocating for an incentive that would cover post-production jobs in-state, even if principal photography films elsewhere or the project did not otherwise qualify for the state’s production incentive.

Schultz said he is backing the proposed legislation because of the effect on workers in his district over the last decade.

“We are competing with other states and foreign countries for post production jobs, which is causing unprecedented threats to our workforce and to future generations of entertainment industry workers,” he said in a statement Thursday.

During the 1 1/2 hour meeting, industry speakers pointed to other states and countries, including many in Europe, with specific post-production incentives that have lured work away from the Golden State. By 2024, post-production employment in California dropped 11.2%, compared with 2010, according to a presentation from Tim Belcher, managing director at post-production company Light Iron.

“We’re all an integrated ecosystem, and losses in one affect losses in the other,” he said during the meeting. “And when post[-production] leaves California, we are all affected.”

VICTORIA Beckham’s £104 foundation has sold out in the two weeks since son Brooklyn disowned her — as fans throw their support behind the ex-Spice Girl.

It is now the most successful product in her beauty range — and means she stands to make her greatest turnover this year.

The Foundation Drops have sold out in several shades, with the waiting list the longest since she launched her range in 2019.

Currently one of her satin kajal eyeliners sells every 30 seconds.

But the foundation is on track to sell every 20 seconds once stocks are replenished.

January, traditionally the quietest month in the online beauty world, has been Victoria’s busiest to date as fans launched a viral campaign to promote her products.

Read more on Victoria Beckham

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It comes after they got her 2001 hit, Not Such An Innocent Girl, to number one in the charts last month following Brooklyn’s Instagram tirade.

After months of feuding, Brooklyn 26, said he has no desire to reconcile with Victoria, 51, and dad David, 50.

A source said: “Personally it may well have been one of the worst months of Victoria’s life but professionally, these past four weeks have been astonishing.

“Not only did fans get her to number one, TikTok then went into overdrive reviewing her foundation. It got rave reviews, with make-up artists and beauty enthusiasts waxing lyrical.

“Having already sold well in the build-up to Christmas, in the wake of Brooklyn’s bombshell statement, it has had a second surge online.

“As a result, there are now enormous waiting lists and it has become her biggest ever selling hero product.”

Victoria’s most recent Companies House reports showed a 26 per cent revenue increase year on year, with turnover of almost £113million.

SYDNEY Sweeney has debuted a sexy lingerie look, leaving fans’ jaws on the floor as she posed in a black thong and matching bra.

The stay recently announced her new brand, Syrn, which she’s been feverishly promoting with paparazzi-style shots, and daring ads.

Sydney, 28, posed for the camera in a lacy black bra, a tiny thong, thigh-high tights, suspenders, and a matching silk robe.

She shielded her face from the flash in the snaps, posted to the Syrn Instagram Story.

The promotional pic comes days after the release of a racy ad, showing the Euphoria actress doing some work around the yard in itty bitty lingerie.

SHOWSTOPPER

In the ad, she’s seen in a tiny house getting ready to start her day.

Birds outside her window are chirping, carrying bras and underwear on a wire.

She then heads out to do yard work, tending to a ruse bush, trimming imperfections off a shrub shaped after her body, and mowing the lawn.

After a long day of work, the bra and panty-clad star strips down to slip into something more comfortable.

Her silhouette is seen in the window as she slips off her bra and tosses it out.

Sydney’s impressive figure is on full display in the ad, which promotes the latest release from her brand.

She previously shared that Syrn will offer designs split into four “personas” – seductress, romantic, playful and comfy.

The range will come in 44 sizes from 30B to 42DDD.

She said at the time: “The secret is finally out . . . this is lingerie you wear for YOU, no explanation, no apology.

“I wanted to create a place where women can move between all the different versions of who we are.

“I love working on cars, I go water skiing, I’ll dress up for the red carpet then go home to snuggle my dogs.

“I’m not one thing, no woman is.”

ACTRESS Florence Pugh revealed her bloody face and welts on her forehead in new photos after undergoing “Botox and fillers.”

The A-list star got candid about the beauty treatments she’s endured and their shocking side effects in a series of social media posts.

Earlier this week, Florence, 30 – who is set to star in the first James Bond Amazon spin-off – shared several snapshots from her recent visit with her plastic surgeon, showing herself receiving injections in her forehead and lips.

One pic captured the Oppenheimer star sticking her tongue out at the camera while her doctor smiled as she injected a needle into her forehead, which already showed multiple red bumps.

“Just mama Pugh freezing her forehead like a responsible adult,” the Thunderbolts star teasingly wrote over the clip.

A second snap showed Florence with a neutral expression as she received filler injections in her top lip.

The Don’t Worry Darling star then showed the after-effects of the injections, including visible marks on her face.

“I wasn’t stung by a bee. I repeat: I wasn’t stung by a bee. Just had some tox and fillers,” Florence jokingly clarified in her caption.

The Pretty Woman star appears to have made a habit of prioritizing herself from a young age.

Last February, during an appearance on the National Geographic series No Taste Like Home, Florence opened up about her childhood battle with severe respiratory issues.

“I wasn’t supposed to live,” the United Kingdom native revealed.

“When I was born, they told my parents that it wasn’t going to happen, and just enjoy the time whilst you have it.

“I had many struggles growing up with my breathing, constantly being ill. Going in and out of the hospital,” Florence added.

The We Live in Time star previously revealed that she was diagnosed with tracheomalacia as a baby, a condition that causes the windpipe to collapse and makes breathing difficult.

Her parents uprooted their lives to Spain when she was three years old after doctors suggested that a warmer climate would help her breathe better.

“We were in Spain because I have a breathing issue,” Florence said in a past interview.

“I have asthma and this thing called tracheomalacia. From a young age, I’ve just had a different breathing system.”

Florence was initially on the show to trace her family’s roots through culinary creations in Oxford.

She then discovered that her 3x great-grandparents, Mauritz and Anna, who emigrated from the Netherlands to London in the mid-1800s, had a daughter, Florence, who died at just four days old.

The actress learned that her relative likely died from tuberculosis, prompting her to reflect on her own health struggles growing up.

Just five days after Philip Glass, one of the world’s most famous and revered living composers, canceled the world premiere of his “Lincoln” symphony at the Kennedy Center, President Trump announced he would close the nation’s premier arts center for two years for major renovations.

The arts world — already spinning from the sweeping changes to the venue that began almost a year ago when Trump fired the board and installed himself as chairman — was gobsmacked by the shocking news. And although the president said in a social media post that the closure was about building a “World Class Bastion of Arts, Music, and Entertainment, far better than it has ever been before,” speculation abounded that the unexpected move was more about saving face.

Ticket sales had been plummeting since Trump’s takeover and high-profile artists continued to jump ship, a trend that accelerated late last year after the board voted to rename the building the Trump Kennedy center.

Embarrassment could have been a factor in the rash decision, but Trump is not a man who appears to be afflicted by that particular emotion, which takes its cue from a certain amount of self-awareness and humility. For this reason, I am venturing another guess about the president’s motive for pulling the rug out from under the storied venue: retribution.

If ungrateful artists don’t want to play at the Kennedy Center, the Kennedy Center will no longer be around for them to use. Take that.

Since assuming office for the second time last January, exacting revenge on his perceived enemies has been Trump’s main modus operandi. It has animated many of his most stunning decisions, including his early executive orders stripping security clearance and federal court access from law firms who represented his perceived enemies; his many lawsuits against media operations that displeased him; his freezing of federal funding for universities that refused to do his bidding; his indictment of former FBI director James Comey and the investigation of Federal Reserve Chair Jerome Powell. The list goes on and on.

The Kennedy Center was supposed to mark a vainglorious Trump’s ascendance to the pinnacle of cultural cachet, but instead the culturati shunned and humiliated him — refusing to join his party. New York City high society did the same before he was president. It was a pattern both familiar and painful. So Trump, like the man-child he is, took his ball and went home.

In this case, that ball happens to be the complex that serves as the symbolic seat of the nation’s vibrant, messy, questioning, deeply political and hugely alive arts and culture scene. To lose access to this beating heart — and all that it represents — is a grievous loss for our national identity. Its meaning was enshrined in President Kennedy’s vision for the center, and written on its walls, as the realization of a country, “which commands respect throughout the world not only for its strength but for its civilization as well.”

Like many of Trump’s controversial construction projects, the wholesale re-imagining of the Kennedy Center will likely face immediate and lengthy pushback in court. This could mean that it never gets done, and the center remains closed indefinitely. Or we could wake up tomorrow to news that bulldozers have arrived onsite and have begun the process of razing architect Edward Durell Stone’s historic 1971 building — as happened with the East Wing of the White House.

Roma Daravi, the center’s vice president of public relations, wrote in an email that the renovations would include, “Repairing and, where necessary, replacing elements on the exterior of the building to ensure the long-term preservation and integrity of the structure,” as well as getting the building up to code and making fixes to the center’s “HVAC, plumbing, electrical, fire protection, vertical transportation systems, and technical stage systems,” as well as improving parking. She also wrote that the center, which hosts 2 million visitors annually, is working closely with the National Symphony Orchestra, and will “continue to support them with funding at the same level as recent years.”

Nonetheless, the most frightening thing about this new era under Trump is that anything is possible, and we sometimes don’t know exactly what that means until it is far too late.

I’m Arts Editor Jessica Gelt, and here’s your arts and culture news for the week.

On our radar

Yunchan Lim performs next weekend with the L.A. Philharmonic.

(LA Phil)

Dudamel Conducts Beethoven and Lorenz
Playwright Jeremy O. Harris reconceptualizes Johann Wolfgang von Goethe’s play “Egmont,” with narration by actor Cate Blanchett and maestro Gustavo Dudamel leading the Los Angeles Philharmonic in Beethoven’s complete incidental music. The evening begins with the world premiere of Ricardo Lorenz’s “Humboldt’s Nature,” inspired by the South American travels of philosopher and naturalist Alexander von Humboldt, followed by 2022 Van Cliburn winner Yunchan Lim performing Robert Schumann’s “Piano Concerto in A minor, Op. 54.”
8 p.m. Thursday; 11 a.m. Feb. 13; 8 p.m. Feb. 14; 2 p.m. Feb. 15. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events

A scan of the face Nes-Hor, an ancient Egyptian priest whose mummy is featured in “Mummies of the World: The Exhibition” at the California ScienceCenter.

(California ScienceCenter)

Mummies of the World
The scientific study of naturally and intentionally preserved corpses illuminates the lives of ancient people, past cultures and the present in this exhibition that includes more than 30 real-life mummies.
10 a.m.-5 p.m., through Sept. 7. California ScienceCenter, 700 Exposition Park Drive. californiasciencecenter.org

Ann Noble as “Richard III” at A Noise Within.

(Daniel Reichert)

Richard lll
Guillermo Cienfuegos directs this fast-paced reinterpretation of William Shakespeare’s history play, reset in 1970s Britain with Ann Noble in the title role as one of the most fascinating villains ever.
Sunday through March 8. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org

The week ahead: A curated calendar

FRIDAY
The Abduction from the Seraglio
Pacific Opera Project performs its “Star Trek”-themed parody of Mozart’s in L.A. for the first time in a decade.
7:30 p.m. Friday and Saturday; and 3 p.m. Sunday. Thorne Auditorium, Occidental College, 1600 Campus Road. pacificoperaproject.com

Thomas Adès and Yuja Wang
Composer Adès leads the L.A. Phil in Tchaikovsky’s “Francesca da Rimini , Op. 32,” the U.S. premiere of William Marsey’s “Man With Limp Wrist” and Adès own work “Aquifer”; and pianist Wang performs Prokofiev’s “Piano Concerto No. 2 in G minor, Op. 16.”
8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Rickie Lee Jones performs Friday and Saturday at the Wallis.

(Amy Harris / invision/ap)

Rickie Lee Jones
The singer, musician and songwriter brings her genre-defying vocals, crisscrossing rock, R&B, pop, soul and jazz, to the Wallis for two shows.
7:30 p.m. Friday and Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Laguna Beach Music Festival
Violinist Stefan Jackiw is joined by Kevin Ahfat on piano, the Parker Quartet and story artist Xai Yaj for a program featuring Beethoven and Janáček on Friday; and on Saturday, Jackiw, Ahfat and the Parker Quartet, along with clarinetist Yoonah Kim and musicians from the Colburn School perform works by American composers Florence Price, Leonard Bernstein, Eric Nathan and Aaron Copland, conducted by Steven Schick.
8 p.m. Friday; 7 p.m. Saturday. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. philharmonicsociety.org

SATURDAY
asses.masses
Patrick Blenkarn and Milton Lim’s immersive, eight-hour video game experience — with intermissions, refreshments and a meal included — involves unemployed donkeys demanding that humans surrender their machines and give the animals back their jobs.
1 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Chicano Camera Culture: A Photographic History, 1966 to 2026
The exhibition examines Chicana/o/x lens-based image-making through 150 works by nearly 50 artists.
Through Sept. 6. The Cheech, 3581 Mission Inn Ave., Riverside; through July 5. Riverside Art Museum, 3425 Mission Inn Ave. riversideartmuseum.org

Katie Holmes stars in “Hedda Gabler” at the Old Globe Theatre in San Diego.

(Jan Welters)

Hedda Gabler
Katie Holmes headlines this new version of Henrik Ibsen’s classic drama adapted by Erin Cressida Wilson and directed by Barry Edelstein.
Through March 15. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org

Just Me – Pico Union
This concert by the award-winning ensemble Tonality, led by founder and Artistic Director Alexander Lloyd Blake, honors and shares the stories of transgender and non-binary individuals.
7 p.m. Saturday. The Pico Union Project, 1153 Valencia St., Los Angeles. ourtonality.org

Mandy Patinkin in Concert: Being Alive
The stage-and-screen star, accompanied by Adam Ben-David on piano, performs Broadway and classic American tunes written by Irving Berlin, Stephen Sondheim, Cole Porter and Harry Chapin.
8 p.m. Saturday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org

The orchestral collective Wild Up performs Saturday at the Broad.

(Ian Byers-Gamber)

Wild Up
The orchestral collective presents “The Great Learning, Paragraphs 2 and 7” by Cornelius Cardew, a community collaboration with 30 pre-appointed non-musicians.
8 and 10 p.m. Saturday. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org

SUNDAY
From Fugue to Fantasia: Debussy, Mozart, and More
Colburn alum and violinist Blake Pouliot is joined by Jonathan Brown on viola and percussionist Matthew Howard.
4 p.m. Sunday. Thayer Hall, Colburn School, 200 S. Grand Ave., downtown L.A. colburnschool.edu

MONDAY
American International Paderewski Piano Competition
Twenty-five young professional pianists vie for a $10,000 grand prize named for Ignacy Jan Paderewski, a celebrated European concert pianist and composer, who helped lead Poland’s battle for independence after World War I and later served as the nation’s prime minister.
1 p.m. Monday-Wednesday; 11 a.m. Feb. 13 and 5 p.m. Feb. 14. Murphy Recital Hall, Loyola Marymount University, 1955 Ignatian Circle. paderewskimusicsociety.org

Right in the Eye
Jean-François Alcoléa, Fabrice Favriou and Thomas Desmartis play more than 50 instruments in this live concert, designed by Alcoléa, that serves as a soundtrack for 12 silent shorts by pioneering filmmaker Georges Méliès.
7 p.m. Monday. USC Cinematic Arts, Norris Cinema Theatre at the Frank Sinatra Hall, 3507 Trousdale Parkway. https://cinema.usc.edu/events/event.cfm?id=72935

TUESDAY
House on Fire
The new music trio of Andrew Anderson, Wells Leng and Richard An perform a program of works for pianos, keyboards and other instruments by Tristan Perich, Erin Rogers, Matthias Kranebitter, Yifeng Yvonne Yuan, Erich Barganier, and group members An and Leng
8 p.m. Tuesday. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org

sex, lies and videotape
The Los Angeles Film Critics Assn. presents a screening of Steven Soderbergh’s breakout 1989 indie starring James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo with Giacomo in conversation with critic Lael Loewenstein.
7:30 p.m. Tuesday. Egyptian Theatre, 6712 Hollywood Blvd. egyptiantheatre.com

WEDNESDAY
Amadeus
A new production of Peter Shaffer’s music-infused drama stars Jefferson Mays as Salieri, Sam Clemmett as Mozart and Lauren Worsham as Constanze, with Tony Award winner Darko Tresnjak directing. The Pasadena Conservatory of Music will offer 10-minute Micro Mozart Concerts before every performance
Wednesday through March 8. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org

Yefim Bronfman
The pianist performs works by Schumann, Brahms, Debussy and Beethoven in a Colburn Celebrity Recital.
8 p.m. Wednesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Here Lies Love
Snehal Desai directs an all-new production of the musical about former First Lady of the Philippines Imelda Marcos, with concept, music and lyrics by David Byrne and music by Fatboy Slim and choreography by William Carlos Angulo.
Through March 22. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

THURSDAY
Intersect Palm Springs Arts + Design Fair
Collectors, designers and curators convene in the Coachella Valley to present new work and share ideas with one another and the public.
4-6 p.m. VIP only and 6-8 p.m.Thursday; 11 a.m.-6 p.m. Feb. 13-15; 11 a.m.-5 p.m. ; Feb. 16. Palm Springs Convention Center, 277 N. Avenida Caballeros. intersectpalmsprings.com

Culture news and the SoCal scene

More on the Kennedy Center
Times classical music critic Mark Swed weighed in on the Kennedy Center’s closure with a deeply knowledgeable piece about the history of the storied venue, and how it has always been a place marked, and sometimes marred, by politics — just never in this way. “The Kennedy Center proved political from Day 1. Leonard Bernstein was commissioned to write a theatrical piece for the center’s opening in 1971, which turned out to be an irreverent ‘Mass’ — musically, liturgically, culturally and, most assuredly, politically. Most of all it was an unmistakable protest against the Vietnam War. In his own protest, President Nixon stayed home,” Swed writes.

And here’s my breaking news story about Trump’s announced closure of the venue.

Many nights at the opera
Meanwhile, arts and entertainment writer Malia Mendez penned a lovely piece announcing L.A. Opera’s 2026-27 season — the first under its new music director, Domingo Hindoyan, who takes over after longtime leader James Conlon steps down. Fun fact: Hindoyan and soon-to-depart Los Angeles Philharmonic music director Gustavo Dudamel have been friends since their days together in Venezuela’s world-renowned youth orchestra El Sistema.

Mark your calendar
On Thursday, Malia scored another exclusive, reporting on LACMA’s announcement that the David Geffen Galleries, the pinnacle of a two-decade campus transformation, will officially open April 19. Museum members will have two weeks of priority access to the galleries, with general admission beginning May 4. It was nearly a decade ago that business magnate David Geffen made a record-high $150-million donation toward the construction of a new museum building to be designed by Pritzker Prize-winning architect Peter Zumthor. The $720-million structure will serve as the new home for LACMA’s permanent collection with 90 exhibition galleries organized thematically rather than by medium or chronology. “It’s kind of a worldview,” LACMA Director and Chief Executive Michael Govan told The Times. “It’s big enough that it can hold the world.”

Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

A bloody good time
Comedian, musical theater star and “Seinfeld” alum Jason Alexander directed a revival of “Sweeney Todd: The Demon Barber of Fleet Street” at La Mirada Theatre for the Performing Arts, and Times theater critic Charles McNulty was there to catch it. “Alexander’s production of ‘Sweeney Todd’ has breadth and heft, but also intimacy and lightness,” McNulty writes in his review.

Rebuilding Altadena
Times contributor Sam Lubell wrote a comprehensive piece about the rebuilding of Altadena’s community spaces and parks in the wake of the Eaton fire, a task that has attracted the talent and attention of Disney Imagineers and Pritzker Prize-winning architect Shigeru Ban.

New Hammer hires
Exciting staffing news arrives from the Hammer Museum at UCLA, which announced two new leadership appointments: Michael Wellen has been named the museum’s new chief curator; and Regan Pro is being brought on in the newly created role of chief of learning, engagement, and research, taking the lead on public programs and community partnerships, as well as K-12, family, and university initiatives. Both new hires will report to museum director Zoë Ryan. Wellen arrives from London’s Tate Modern where he is currently senior curator of international art; and Pro is a longtime arts leader and educator who most recently served as the deputy director of public programs and social impact at the Lucas Museum of Narrative Art.

Alexander Shelley has been named music director of Pacific Symphony.

(Curtis Perry)

Taking the baton
Pacific Symphony announced its 2026-27 Classical Series, marking the orchestra’s 48th season, and its first under the leadership of its new artistic and music director, Alexander Shelley. The season’s two opening programs will celebrate the 20th anniversary of the Renée and Henry Segerstrom Concert Hall, and the 40th anniversary of Segerstrom Center for the Arts. The opening night celebration in September features violinist Joshua Bell, after which Shelley will guide the season through a series of classic works, beginning with Mahler’s Second Symphony. A season highlight will be a program called America 250, which celebrates the country’s semiquincentennial and includes work by Leonard Bernstein, Igor Stravinsky and Aaron Copland. Also on the calendar: John Adams’ Pulitzer Prize-winning opera, “Nixon in China,” and a two-week Beethoven Revolution Festival.

— Jessica Gelt

And last but not least

Do you want to get so close to an elephant that you can see his or her eyelashes? I do. I really do.

Love Island All Stars viewers are convinced they have worked out Belle Hassan’s big secret

Love Island viewers reckon they’ve cracked Belle’s ‘game plan’ after clocking a telling sign.

Thursday (February 5) evening’s explosive instalment launched with the comeback of Snog, Marry, Pie – this time with a big twist. Breaking from tradition, Islanders could now pie anyone in the villa, regardless of gender.

Whitney kicked things off by snogging her partner Yamen before pledging to marry Scott, saying: “Scottisha, because he’s my best friend”.

American bombshell Sher followed suit, locking lips with her current coupling Scott. Leanne subsequently pied him, stating: “Ideally I wouldn’t be pie-ing you but I don’t do triangles, so here we are.”

However, it was Belle’s selections during Snog, Marry and Pie that sparked speculation among audiences regarding the Islander’s supposed tactics, reports OK!.

The London lass chose to wed Curtis and unsurprisingly pied her former flame Sean, who recently abandoned her for Lucinda.

In a surprising move, Belle selected Scott for a snog, confessing he’s delivered her best kiss in the villa so far. Previously, Belle and Scott haven’t shown any obvious romantic interest in one another.

However, eagle-eyed fans have been noticing subtle hints about their hidden rapport across this week’s broadcasts.

During Tuesday’s (February 3) episode, Belle intervened in a row between Scott and Sean, physically touching Scott’s chin whilst attempting to diffuse the tension.

This gesture, combined with her daring choice to kiss him, has left audiences utterly persuaded that she’s harbouring secret romantic feelings for her fellow contestant.

One viewer took to social media, writing: “Belle definitely likes Scott… #Lovelsland #LovelslandAllStars.”

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

Another fan echoed the sentiment, exclaiming: “I F****** KNEW BELLE WANTED SCOTT,” while a third chimed in with: “Belle, you are NOT beating those allegations.”

Adding to the speculation, another viewer suggested: “Belle should come clean and tell Scott how she feels cause either one of them is going to have to save the other from this mess they’re in #LovelslandAllStars.”

Fans are even predicting that Belle is secretly hoping for Scott and Leanne’s relationship to end for good so she can make her move.

One fan theorised: “Leanne is subliminally being influenced to hate Scott. The culprit is Belle, who has a secret crush on him […]. LovelslandAllStars.”

Love Island: All Stars continues on ITV2 and ITVX tomorrow night at 9pm

A Reddit user was baffled as to how American TV characters never seem to say ‘goodbye’ when ending a phone call

If you’ve ever watched an American film or TV programme, you may have clocked that characters rarely utter ‘goodbye’ before ending a phone conversation.

Instead, they simply cut the call short without a second’s hesitation, seemingly unbothered by what might elsewhere be deemed discourteous.

Yet there’s actually a proper filmmaking explanation behind why characters skip the pleasantries when ringing off – and it boils down to pure practicality.

Baffled by this phenomenon, one Reddit user asked: “Why do most characters just hang up the phone without saying goodbye? Over the past few years, I have seen people just hanging up.

“Sometimes mid-conversation, but mostly not. It’s like saying bye on the phone isn’t the norm anymore. Is this just to save time during the show or is it a cultural thing in the US?”.

Addressing the mystery head-on, screenwriter and producer Michael Jamin clarified matters in a TikTok clip that’s since racked up over 206,000 likes.

On his account @michaeljaminwriter, Michael – whose credits include King of the Hill, Wilfred and Maron – revealed how the television business labels phrases like ‘goodbye’ as ‘shoe leather’.

He explained: “Shoe leather might make a scene feel more realistic – but it doesn’t necessarily make the scene more entertaining.

“In TV, we also have running times. We have to turn in a cut to the network for like 22 minutes. They won’t accept 22 minutes and 30 seconds. Knowing this, we always shoot long maybe 25 minutes knowing that not every scene is going to be great.

“We want to have a liberty to trim and pace up a bit – but we don’t know where.”

Michael explains that whilst trimming the opening couple of minutes proves straightforward, deciding what to axe beyond that becomes increasingly difficult.

He added: “You’re like, if I cut the guy saying goodbye then maybe I get to keep my favourite joke. Eventually, you get to the point where you’re not even writing the bye into the script knowing you’ll just cut it later.”

The admission sparked plenty of reaction online, with one viewer admitting: “Oh I thought it was for dramatic effect like they are too cool to say goodbye.”

Another added: “From now on, I will quit saying goodbye and use that time to maybe go on vacation when I’m old.”

A third wrote: “I’m from Europe and when I was younger I thought that’s the way people in the US end their phone calls…” Whilst another said: “So glad you weighed in on this. I’m a firm believer that it’s more distracting to say goodbye in a film or tv show. Big fan Michael!”

JILL SCOTT does not rush records. She only goes into the studio when she feels she has got something she needs to say.

The American singer’s sixth album, To Whom This May Concern, arrives a decade after her last effort for exactly that reason.

“It took me 27 years to make Who Is Jill Scott?,” she says of her landmark debut. “And all the experiences in those years I put into that album.

“These projects don’t just happen overnight, it doesn’t work that way. So, it took me ten years to make this album.

“Why did it take so damn long? Because it takes time to make a great meal. It takes time to decorate your home. You don’t rush it. I took my time because I care.”

Writing only when there is something urgent to say, and letting the music lead the message, is the way the Grammy-winning artist and actor creates.

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She says: “I wait for it to come and the things that came out of me for this album shocked the hell out of me, too.

“On some songs, I’m an anthropologist, studying people. I’m on social media and hearing how a lot of people are not satisfied and that’s a damn shame.

“It’s a little harder for me to just sit on a park bench and watch people.”

I meet Scott at her publicist’s office in central London.

I am very excited about the musicianship on this album. The horn players and the bass, which is all over this album, is amazing.

Jill Scott

Dressed in orange, she is bright, friendly and effortlessly glamorous, although she says the jet lag has been hard to deal with.

She’s been over here for a week of promotion, including an album launch where she introduced tracks from To Whom This May Concern and took questions from fans.

“That was a pretty exciting night,” she says. “And the response was great, which was good as I was scared because it’s the first time playing this new music for a bunch of people in a room.

“I am very excited about the musicianship on this album. The horn players and the bass, which is all over this album, is amazing. It’s not a plug-in, it’s a player.”

At 19 tracks long, this is an impressive album. Collaborators include Trombone Shorty, Maha Adachi Earth, DJ Premier and rappers Tierra Whack, JID and Ab-Soul.

Recent single Pressha and Don’t Play touch on relationships.

Jill says: “Pressha is about a toxic past relationship while Don’t Play is a template for how to have a date where you actually want to get to know someone.

“It’s not just about what box they tick or what salary they earn. Then BPOTY — Biggest Pimp Of The Year — I wrote after looking at society and thinking, ‘My God, these folks are pimping us’.

“Like the pharmaceutical companies. I had been taking some medication and I didn’t really need it, I was being pimped and so it began with that story.”

‘Music is medicinal’

A diverse record blending soul, rap and jazz, it features beautiful ballads such as Me 4 and Àse, showcasing the poetic storytelling Scott has long been celebrated for.

“When I heard how diverse the music was, it made sense as an album,” she explains.

“People are going to get what they’re going to get what they need from it at different times. I believe music is medicinal. Like when I first heard of Billie Holiday, I didn’t really hear her until I got my feelings hurt.

“Then I listened again and everything clicked and made sense — how poignant her words were — and that’s why this album is called To Whom This May Concern.”

Be Great is a superb track as both a declaration and mantra, designed for everyday moments of courage.

“I want people to play it before their auditions, job interviews or anything that matters to you,” says Scott. “Go ahead and be fantastic at it, whatever it is.

“I just got the music and the lyrics popped out. I see it as Golden’s cousin [her 2004 anthem]. Yeah, they’re definitely related.”

Offdaback, which Scott says is her favourite track on her new album, pays homage to her heroes who came before her, artists and pioneers who stood up for freedom and music.

“The ancestors have to be honoured,” she explains.

“Whether it was your grandmother who worked in somebody’s house in order to make sure your mother had food, or it was your dad who worked three jobs so you could go to college or so you could live your dream.

“As an artist every day I’m reminded of how many people have made a way for me to be here.

“My office wall has photos of all the people who have inspired me. Diana Ross, Missy Elliott, Led Zeppelin and Queen Latifah are on there.

“I admire so many. Nina Simone for being so frank and fearless; Tina Turner for being so brave and using her voice.

“The list goes on. Frankie Beverly was beloved to me and Prince was my number one, and Bette Midler showed me that you don’t have to be around, knocking on doors all the time. You can disappear for a while, too.

“I went to see Frankie Beverly and Maze and they’d not had a record out for 25 years but everyone at the show is up and singing at the top of their voices.

“Music is about that feeling, about camaraderie and unity. I feel really honoured that anyone would feel that about my music.

“However, I’m still working on the other stuff that comes with that.”

There was a recent social media post of Scott being stopped by a fan who recognised her on the street — and she tells me she still finds that side of fame difficult.

Staying human

She says: “I value my time in just taking a walk, I really do. It’s important to me and it helps me balance everything else. The guy was sweet and I loved his freckles but being stopped in the street is not easy for me.

“Yes, 26 years later, I’m still working on it. I get good advice about it. My mentors tell me the value of maintaining the private self and staying human.

“When people put you on a pedestal it’s a very dangerous game and it’s not the game I play.”

When Scott emerged in 2000 as the voice in neo-soul, blending R&B, jazz, soul and spoken word, she found the spotlight overwhelming.

“It was terrifying and exciting,” she says with a smile. “I had a good two or three weeks where I was like, ‘This is so fun’. And then it didn’t stop.

“People were driving by my house playing the album at full capacity at three o’clock in the morning.

“I don’t want to sound ungrateful, because that’s not where I live — I live in grace and gratefulness all the time.

“It just was never my priority. I see people who are far more famous than me, and God bless them, but balance really matters to me. I’m a writer first, I just happen to sing.

“I have to be human and recognise how flawed I am and how much I’m working through things and honouring myself in all the things.

`’So, my goal is to be grand and gracious and have patience with other people. And when I can’t, I go into the house. That’s how I live.”

I think as a society, we’re holding on to a lot of people that don’t benefit our lives.

Jill Scott

Pay U On Tuesday is a fun song which Scott says: “Comes from being exhausted of family members who I used to be friends with that just don’t value the same things.”

It’s a direct song which even comes with a disclaimer (in the form of a track called Disclaimer) before it.

She laughs and says: “Oh yes there’s a disclaimer. But cutting ties is sometimes needed.

“Maybe they’re not ready to be respectful now, but I think as a society, we’re holding on to a lot of people that don’t benefit our lives.

“What I’ve learned in these 53 years is that I love when the people around me bloom and I want to continue to bloom.

“This album has been brought to you by education for your home. For your family.

“I definitely don’t like being perimenopausal. That’s not fun. It’s made certain things a lot more challenging, like staying fit, and sometimes you don’t sleep and a dress doesn’t fit but I count on the joys.

“I’m a big advocate for a book called The Celestine Prophecy, which reminds me to constantly look for beauty.”

Growing up in North Philadelphia, “Jilly from Philly” says she owes her positivity and happy childhood to her mother and grandmother. “My mother showed me art and creativity and I’m grateful,” she tells me.

Although there was a lot of drugs and violence around her, she also saw “kind and beautiful-spirited people” — and that spirit is at the heart of the track Norf Side.

“It’s a celebration of the place,” she says.

For that song, she wanted another voice from North Philly and her son Jett suggested Tierra Whack, a brilliant MC and remarkable poetess. “We are both a reflection of that place,” she says.

Scott, who has a charitable foundation in North Philadelphia which has been sending kids to camp and to college for more than 20 years, says she could have made an album about what’s going on in the US politically but chose a theme of personal revolution over performative outrage and political frustration.

‘Joy, passion, rage’

“I think that’s another album,” she says. “Right now, I’m really focused on growth and healing — the human stuff.

“Then maybe there will be the kind of revolution that this kind of turmoil deserves.”

On the death of mum-of-three Renee Good, who was shot by an Immigration and Customs Enforcement (ICE) agent in Minneapolis last month, she says: “This has been going on in the United States for longer than my whole life — it’s not new.

“It just happened to happen to a Caucasian woman so the world is shaken and they’re seeing it.”

Making a name for herself in acting as well as music and poetry, she has starred in 2007 comedy Why Did I Get Married? and TV series The No1 Ladies’ Detective Agency.

Scott says she is taking her time when it comes to choosing her next role, paying close attention to both the director and the writing.

Live performance, however, is non-negotiable. “I will be touring. That is a fact.”

For now, the focus is firmly on this record. “I just want people to come back and listen to it again and again,” she says.

“I’ve sprinkled levels of joy, frustration, passion and even rage. When that last chord plays, I want people to sit with it — and then start all over again. Each time, there’s something new.”

• To Whom This May Concern is out on February 13.

JILL SCOTT

To Whom This May Concern

★★★★★

Successful romances star at least one looker. I don’t mean someone attractive. I mean an actor who gazes at their scene partner with such delight that we swoon, too. Clark Gable was a looker. Diane Keaton was a looker. The combined eyeball voltage of Ryan Gosling and Emma Stone is so powerful that it’s turned silly scripts into hits.

Harry Melling is a late-blooming looker. Onscreen most of his youth as the Muggle brat Dudley Dursley in the “Harry Potter” franchise, Melling is only just now getting to show off that talent in the funny-kinky “Pillion,” which puts him on his knees beaming up at Alexander Skarsgård’s 6-foot-4 biker as though this blond hunk was the sun. His Colin, a shy gay man who sings the high notes in a barbershop quartet, is so visibly infatuated licking Skarsgård’s leather boots in a dark alley that you believe he lusts for humiliation. Colin has only just discovered that fact about himself. He’s yet to even learn this man’s name. (It’s Ray.)

Perhaps you’d like to be taken to dinner first, but “Pillion” is about Colin’s needs — specifically his need to please — and first-time feature filmmaker Harry Lighton challenges us to root for his bliss. This fetishy adventure is a minimalist romantic comedy in which submissive meets dominant, and submissive explores his physical and emotional vulnerabilities. Marriage and a baby carriage are off the table; the journey matters, not the destination.

“Pillion” is what motorcyclists call the passenger seat, at least in suburban England where this is set. It’s a passive position compared to the driver, but still a cooler upgrade from where Colin starts the movie riding in: the rear of a sedan. Out the car’s back window, he sees Ray zoom by in white Stormtrooper-looking gear and, by happenstance, bumps into him that night at a pub where Colin’s mother, Peggy (Lesley Sharp), has set up a blind date with a nice bloke. That guy gets forgotten the instant Ray slips Colin a note with a time and place to meet.

Peggy isn’t panicked by her son’s alpha-male predilections. “I think a biker sounds exciting,” she says with a grin. His father, Pete (Douglas Hodge), just wants him to wear a helmet. Neither parent is privy to the fact that Ray simply isn’t very nice. Ray controls the gobsmacked Colin quietly, calculating the bare minimum of kindness required to have a house boy willing to cook dinner, tend to his Rottweiler and sleep on the floor. He withholds his approval to keep the paler, smaller man anxious.

That Rottweiler contended for the Palm Dog at last year’s Cannes, a prize for the festival’s best canine. Frankly, Melling himself should have won. His performance is pure puppy, from the way he silently studies Ray’s silent cues to the eagerness with which he leaps up to fetch Ray a beer. When Ray lavishes attention on another biker’s pet pillion, Kevin (Jake Shears of the Scissor Sisters), Colin sulks until his master unzips his trousers and gives him a treat.

Flexing his abs in shiny Motoralls, Skarsgård uses his own appeal to expose an unattractive wrinkle in human behavior: Ray is so gorgeous that everyone just takes it as fact that Colin is lucky to be near him. When a coworker asks this scrawny geek how he bagged a hunk like Ray, Colin brags that he has “an aptitude for devotion,” which includes wearing a padlock around his neck and shaving his Byronesque curls so that he looks like a zealot — which in a way, he is.

Over and over, Colin takes stock of his own debasement. But then he looks at his model-handsome lover and calculates that his suffering is worth it. He’s good at compartmentalizing; he’s a parking violations attendant who tickets angry people all day. When he needs an excuse to cry, he finds one (and it hurts to watch).

Lately, it’s been a thrill to see queer stories confidently leapfrog over coming-out narratives to the trickier question of whether two individuals in particular are a decent match. Lighton leaps further than that — he goes full Evel Knievel by daring to ask how we feel about a relationship that’s indecent, but still has worth as a set of training wheels for a wobbly young man learning what he wants.

It’s a more optimistic take on Colin and Ray’s coupledom than was in the book that inspired the script, Adam Mars-Jones’ 2020 novella “Box Hill,” which was subtitled “A Story of Low Self-Esteem.” A study of the psychology of abuse, that story’s more brainwashed version of Colin finds him decades older looking back on the affair and pining for a relationship that reads as horrible between the lines.

Lighton isn’t oblivious to the power imbalance, but he’s made a movie about going forward, not being stuck. He trusts his naif with more agency, and so “Pillion” is freer to play its insults for laughs. You’ll giggle a lot. That gleam in Melling’s eyes makes it feel like a comic fantasy, although who knows? Perhaps there really are BDSM biker gangs hosting afternoon picnics with serving boys tied spread-eagled on a buffet table. That bucolic scene is filmed in a slow pivot around the park, cinematographer Nick Morris getting a chuckle from how the image shifts from Georges Seurat to “Hellraiser.”

Eventually, Colin’s parents will be more flinchy about his new boyfriend, leading to a beat or two that don’t land with the impact they could. Oddly, Lighton might be too restrained himself. Like his leads, he prefers to say everything with a look.

But while Melling is always endearingly open and responsive, Skarsgård stays unreadable. His Ray always seems to be hiding behind a motorcycle visor even when he’s not and when he deigns to speak, the words trail off in a huff of exhaustion. The only thing we know about Ray’s life are the names of his two previous dogs, and that’s only because he has them tattooed on his chest.

Any more personal facts about Ray — his own job or family or romantic history, even his favorite movie — would risk us clinging onto it too tightly as an explanation of what he gets out of this himself. Serving Ray’s pleasure is Colin’s focus. And our focus is on Colin’s pursuit of that.

Yet with subtle skill, Skarsgård reveals that Ray is thinking about Colin more than he’s willing to let on. Curiosity flickers across his face when his submissive surprises him. He stays gruff, of course, but you sense that Ray is as manacled by his authoritarian role as Colin literally is in his hungry, slurping devotion to his master. Puny and pathetic as Colin appears, he begins to seem like the braver of the two. It takes courage to map your own boundaries — then to cross over that line and get hurt, and get back up and out there. Lighton’s biker BDSM rom-com might sound niche, but free yourself to see it and you’ll discover it’s a universal romance.

WHEN it comes to getting a tattoo tribute to your family, lover or idol, you should maybe learn from Brooklyn Beckham and think before you ink.

After his angry rant about parents Victoria and David last month, he has dealt them another blow by covering the word “Dad” on his anchor tatt, with three random-looking shapes over the letters.

But Brooklyn – who also has the eyes of wife Nicola, right with him, inked on his neck – is not the only celebrity to have thought again about their body art.

Tom Bryden looks at five other stars who said tatty bye to unwanted tatts…

ANGELINA JOLIE

SHE wore a vial of her husband’s blood around her neck, so a tattoo of Billy Bob Thornton’s name was one of Angelina’s tamer tributes.

After their split, the inking changed course – with the co-ordinates for the birthplaces of her six children.

TATT SAGA

Brooklyn Beckham appears to cover up tattoo tributes to brothers Cruz and Romeo

TIT FOR TAT

Brooklyn Beckham posts new pic of tattoo tribute to David he’s had covered up

SYLVESTER STALLONE

WHEN Sly covered a tatt of his wife Jennifer Flavin with his late pup Butkus in 2022, he had to deny the marriage was Rocky.

Maybe it was just a ruff time.

JOHNNY DEPP

AFTER his 1993 break-up from Winona Ryder, the Hollywood star changed the “Winona Forever” tattoo on his bicep to “Wino Forever” – a cheeky nod to Johnny’s love of wine.

HEIDI KLUM

THE supermodel gave her singer hubby the Seal of approval with arty print of his name, next to stars for their kids.

But Heidi split with Seal in 2012 and had his name lasered off.

MEGAN FOX

THE actress scrubbed a tattoo of one-time idol Marilyn Monroe from her arm in 2011, claiming she had outgrown it after seven years.

While Some Like It Hot, Megan clearly did not.

One question has bothered Martin Ludlow in his decades as a concert and event promoter in Los Angeles. In a city packed with excellent jazz musicians, and a century of history with the genre, why is there no local equivalent of the massive festivals that cities like Montreal, New Orleans or Montreux, Switzerland, have built? One where the music transforms clubs, restaurants and parks across the city for nights on end?

This summer’s inaugural LA Jazz Festival in August will be the biggest push in a generation to build that here. Ludlow’s event — which melds his passion for jazz with the logistics muscle of his former life as a city councilman and labor leader — hopes to draw 250,000 fans across the city for a month of concerts culminating in a stadium-sized show on Dockweiler Beach. It will be one of the largest such events in the world, and the biggest Black-owned fest of its kind.

“This festival is intended to lift up our ancestors that came to this country in bondage, terrorized, brutalized,” Ludlow said outside City Hall on Wednesday. “It’s also about celebrating the end to those last bastions of Jim Crow racism, the days we were denied access to public drinking fountains, public swimming pools and public beaches. From the beginning of this journey, we’ve been very intentional about telling the narrative of that human rights struggle called Jazz.”

Flanked by Mayor Karen Bass, City Council members Heather Hutt, Traci Park and Tim McOsker, and jazz figures including Ray Charles Jr. and Pete Escovedo, Ludlow promised a galvanizing occasion for L.A.’s local jazz scene and the city’s wobbly tourism economy. That jazz scene has welcomed new investments like Blue Note L.A., and lamented beloved clubs like ETA closing.

This festival, however, hopes to be more on a scale with forthcoming mega-events such as the World Cup and the Olympics. The 25-day event in August will sprawl all over the region, with free park concerts in all 15 council districts, and 150 late-night shows at clubs and restaurants across the city. A Caribbean street fair highlighting the African and Latin roots of jazz will hit El Segundo, along with guided tours of historic Black coastal sites like Bruce’s Beach and Inkwell beach.

The fest culminates in a two-day concert on Dockweiler Beach that hopes to draw 40,000 fans a night. While a lineup is still in progress, the scope of Ludlow’s ambition is formidable — the fest will ban fossil fuels from its footprint, and earned a strong vouch from the California Coastal Commission. For decades, the Playboy Jazz Festival (now the Hollywood Bowl Jazz Festival) was the defining event for the music in Los Angeles; this could eclipse it several times over.

“Martin, I’ve been on this 15-year journey with you. Through all of the ups and downs, I’m so excited this is the year,” Mayor Bass said at Wednesday’s event at City Hall debuting the festival. “This is the Los Angeles that will welcome the world. One of the best things we have to offer is all of our culture.”

Ludlow is a colorful figure in Los Angeles politics, a former council member and L.A. County Federation of Labor executive who pleaded guilty to misappropriating funds in 2006. He’s since delved deep into community activism and embarked on a successful third act as a concert and event promoter, throwing socially-conscious events with his firm Bridge Street, which has produced shows for Stevie Wonder, The Revolution, Sheila E and Snoop Dogg along with civic events like the ceremony renaming Obama Boulevard in Los Angeles.

“During this journey, you can only imagine there’s a lot of highs and a lot of lows,” Ludlow said. “When you have those lows, you want a friend that really can lift you up.” He had plenty of them onstage with him Wednesday announcing what could be a new flagship event for jazz in Los Angeles.

American Idol alum Rhonetta Johnson appears worse for wear in a new mugshot linked to an arrest for prostitution years after appearing on the hit talent show.

Johnson, now 44, became a viral sensation after a disastrous audition during American Idol’s Season 5 in 2006, when she had a fiery clash with judge Paula Abdul.

The U.S. Sun can exclusively reveal she was taken into custody at the end of January after skipping previous court dates.

She was booked in North Carolina’s Mecklenburg County after an outstanding order for arrest tied to a long-running prostitution case was finally served at the courthouse.

She was issued multiple release orders, had a public defender appointed, and was placed on a $2,500 unsecured bond, which was later posted.

The arrest traces back to a separate prostitution case filed in 2018, which dragged on for years after Johnson repeatedly failed to appear in court.

Johnson was caught on October 4 in an undercover sting at a massage parlor that led to multiple prostitution arrests in Charlotte, according to charlottealertsnews.com.

Officers found her at the Continental Inn on West Sugar Creek Road, where she allegedly agreed to have sex with an undercover officer for $35, cops said.

During the encounter, Johnson reportedly made a spontaneous statement admitting she had a crack pipe, which officers later found in her bag, leading to an additional charge, the outlet reported.

The charge was later dropped, and only the prostitution charge was filed.

Following her initial arrest, Johnson repeatedly missed court appearances, prompting several warrants, and she was taken into custody and released multiple times in 2019 on secured bonds reaching $2,000.

Despite the drawn-out proceedings, prosecutors ultimately dismissed the prostitution charge with leave in February 2020, formally ending the case, though unresolved paperwork allowed it to resurface years later.

LONG RAP SHEET

Johnson’s legal troubles date back even further.

In June last year, the Columbus Police Department also issued a missing persons plea after she reportedly disappeared.

A post on Facebook shows they later updated followers, saying she had been located in “good health.”

In 2012, she was cited for possessing up to half an ounce of marijuana and charged with soliciting for prostitution, court filings show.

After failing to appear in court multiple times, she was finally arrested in August 2014.

The case was resolved the following month when she pleaded guilty to the marijuana charge and was sentenced to 27 days in jail, all credited as time already served, while the prostitution charge was dismissed.

Court records later show she was hit with $170 in attorney-fee judgments, which remained unpaid and were flagged for state debt collection in July 2025.

The U.S. Sun can also confirm she has had multiple run-ins with the law dating back as far as the 1990s, before her time on the show.

WILD CONTESTANT

Johnson first grabbed attention as a contestant in 2006, auditioning in Greensboro, North Carolina.

She didn’t make it to the Hollywood rounds, but her audition became infamous, not for her singing, but for her reaction after being rejected by the judges.

Johnson lashed out at Abdul, claiming she could be “bigger” than stars like JLo, Janet Jackson and Mariah Carey, and even refused Abdul’s offer of water, mocking the judge on camera.

Clips of the audition went viral, earning Johnson a spot in reality TV lore and even a humorous mention during that season’s finale.

She never launched a mainstream music career, though she did release a self-produced remix EP in 2014.