show biz

CRUZ Beckham has put on a loved-up display with his girlfriend Jackie Apostel in Florida after his cryptic post amid the family feud with his brother Brooklyn.

The singer, 21, put his recent family dramas to the back of his mind to enjoy some quality time with Jackie, 29.

She took to Instagram to share a sneak peek into their holiday with two sweet snaps.

In the first photo, she stood in front of a stunning backdrop of palm trees, blue skies and the stunning sea.

Jackie wore a backless black dress as she looked towards the camera for the sexy picture.

In the second photo, Cruz wrapped his arm around his other half as he planted a kiss on her cheek while closing his eyes.

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The musician opted to wear a yellow polo shirt tucked into some smart black trousers.

His mum Victoria commented: “So pretty,” with four red heart emojis.

The holiday snaps come after Cruz shared a post about his phone calls being ignored, just hours after Victoria broke her silence on the family feud with Brooklyn.

Posting to his Instagram stories, Cruz shared a screenshot from his phone of himself attempting to FaceTime someone, cropping out the contact name.

He cryptically said in the caption of the post: “I never get an answer…”

Cruz then added: “Anyway, new tour vlog is out @itsthebreakers check it, link in story’s“.

The aspiring musician didn’t divulge who never answers his calls, but it could have been a nod to his older brother Brooklyn, who has blocked him on social media.

Cruz is amongst the several family members who have been cut off by Brooklyn and his wife Nicola Peltz.

Until now, the Beckham arm of the family have remained fairly silent on the row, choosing not to respond to Brooklyn’s lengthy statement.

But speaking for the first time on the row, Victoria was asked directly about her eldest son during a new interview with the Wall Street Journal.

The Spice Girls star said: “I think that we’ve always—we love our children so much.

“We’ve always tried to be the best parents that we can be. And you know, we’ve been in the public eye for more than 30 years right now, and all we’ve ever tried to do is protect our children and love our children.

“And you know, that’s all I really want to say about it.”

Victoria did not refer to Brooklyn by name when asked about the rift but discussed how she had only ever tried to “protect and love our children”.

Brooklyn had previously suggested public image and Brand Beckham was the biggest priority to his mum and dad.

Victoria and David are understood to have been left devastated over the fall out and have even recently offered to meet with Brooklyn and his wife Nicola in the presence of lawyers and therapists in an attempt to rebuild the rift.

But with Brooklyn seemingly standing strong on his statement, the family are still yet to make any movements towards a reconciliation.

COMIC Jack Whitehall kicked off his £250,000 wedding to model Roxy Horner yesterday by rowing a boat across a lake to her.

The 37-year-old’s romantic gesture moved some guests to tears — but his pals soon lightened the mood as they jokingly called out to him: “Shagger!”

The comment was believed to be a reference to his appearance on BBC ancestry programme Who Do You Think You Are? in 2019.

It saw Jack discover that his great-great-grandfather Richard, a travelling salesman, was a bed-hopping womaniser killed by syphilis.

The funnyman smiled on the show as he called him “a bit of a shagger”.

His wedding took place in the grounds of £12million stately home Euridge Manor, near Chippenham, Wilts.

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The Georgian-style property is owned by Kate Middleton’s former boss, Jigsaw tycoon John Robinson.

Jack and Roxy invited more than 100 guests, including the comedian’s fellow TV star father Michael and mother Hilary.

Jack and 34-year-old Roxy’s two-year-old daughter Elsie acted as a flower girl.

The comedian’s sister Molly appeared to be a bridesmaid while his brother Barnaby was his best man.

Speaking to The Sun earlier this year, Jack said of Barnaby: “I gave quite a savage speech at his wedding.

“There were a few low blows he wasn’t too appreciative of.

“He’s going to have his opportunity to get his revenge on the big day.

“I’m bracing myself for that.”

Celebrity guests were said to include TV pals James Corden and Jamie Redknapp, who Jack worked with on Sky’s A League of Their Own.

Guests were asked to turn off their phones during the ceremony and were put on a social media blackout.

Cars driving in and out of the venue had blacked-out windows and there were security guards at the gates and by the entrance to the stately home.

Brit Awards host Jack and Roxy started dating in 2020 after meeting on a trip to Australia.

They got engaged in 2024.

Britain’s Got Talent viewers were left fuming after KSI used his golden buzzer on a strange act

Britain’s Got Talent viewers were left disappointed as they threatened to ‘turn off’.

During Saturday’s (April 18) episode of the ITV talent programme, YouTuber KSI used his golden buzzer to send one act through to the live shows, but his choice has sparked criticism from viewers, who described it as the “worst golden buzzer”.

Audiences tuned in for the final auditions in the 19th series of the popular talent competition as hopefuls from across the nation demonstrated their abilities in an attempt to wow judges Simon Cowell, Amanda Holden, Alesha Dixon and KSI.

It’s hardly surprising that they pulled out all the stops in their efforts to impress the panel and secure the £250,000 cash prize along with a coveted slot at the Royal Variety Performance. And as expected, they’re all hoping to earn the golden buzzer – which propels them directly through to the live shows.

However, one performer sparked considerable controversy. Mr Cherry – a Guinness World Record holder and former contestant on America’s Got Talent in 2021 – appeared on stage and left everyone stunned with his peculiar performance, reports Wales Online.

The comedian ‘strongman’, 44, began his bizarre routine by opening a stubborn jar of pickles, which neither judge KSI nor Simon Cowell managed to accomplish.

He proceeded to crush cans by sitting on them. But matters then escalated, leaving everyone astounded after he stripped down and opened wine bottles with his buttocks.

Despite squirming throughout the entire performance, audiences were stunned when KSI opted to slam his golden buzzer. KSI dashed onto the stage, only to slip and slide across the floor on the falling confetti, taking Mr Cherry down with him.

Making his way back to his seat, KSI declared: “Ladies and Gentlemen, I don’t know about you but that was the greatest thing I have ever seen.”

However, viewers at home appeared far from convinced, branding his choice the ‘worst’ golden buzzer in the show’s history.

Taking to social media, one furious fan wrote: “I’m sorry this show is finished #bgt.” Another commented: “A Golden Buzzer? How bloody ridiculous #KSI #BGT #BritainsGotTalent.”

A third posted: “WTF?! Why the hell did KSI give that act the golden buzzer, when he spent the entirety of it squirming uncomfortably? It’s beyond a joke.”

Yet another chimed in with: “Worst Golden Buzzer #BGT.” While one more questioned: “KSI HOW IS THAT GOLDEN BUZZER WORTHY???”

Britain’s Got Talent airs Saturday nights from 7pm on ITV and ITVX.

Britain’s Got Talent viewers complained about one act tonight, calling it inappropriate for family viewing

Britain’s Got Talent viewers have voiced the same grievance, urging ITV bosses to “do better” following an “utterly inappropriate” act.

The beloved ITV talent programme has returned to screens once again with a brand new series, featuring BGT judges Simon Cowell, Amanda Holden, Alesha Dixon and KSI, alongside legendary hosts Ant and Dec.

Tonight (April 18) marked the final round of auditions, but one particular act left viewers at home feeling “sick” and outraged. Fakir Testa, 45, was welcomed onto the stage, leaving both the audience and judges curious about what his performance might involve – and no-one could have guessed.

Viewers at home were quickly horrified to witness him standing on blades while having them pressed against his neck, prompting ITV to issue a ‘do not try at home’ warning.

Admitting she was “stressed”, judge Alesha pressed her red button, joined by Simon, who appeared distinctly unimpressed by the performance, reports Wales Online.

Members of the audience were also spotted turning away and peeking through their fingers, while judge Amanda buried her face in her hands.

Nevertheless, Fakir proceeded to invite Simon onto the stage, requesting he take a seat in a waiting car, before hauling it with a blade pressed against his neck.

The audience seemed to watch on in sheer horror, yet the act proved popular with the Blackpool crowd, as KSI was overheard exclaiming: “You madman, you crazy madman.”

However, viewers at home remained thoroughly unimpressed, as they directed their frustration squarely at ITV bosses. Taking to X, one person wrote: “WHAT THE ACTUAL HECK IS THIS? #BGT.” Another said: “This is NOT a family show #bgt.”

A third fumed: “F***s sake. This is on pre watershed. Do better #itv.” A fourth commented: “This is NOT talent! This is f***** lunacy.”

A fifth echoed: “I can’t watch! Why are they showing this for family entertainment #BGT ?!!?”

One viewer admitted they felt “sick” while another confessed they “can’t watch”. One person labelled it as “utterly inappropriate” as another added: “There are far too many of these Don’t try this at home stunts on #bgt . How about don’t show them on the Tele?”

However, one impressed viewer enthused: “Faki Testa – oh my days that was strange so hard to watch but b****y brilliant entertainment.”

Another offered an explanation: “The blade has to move sideways to cut or use a large amount of energy to chop My Kung Fu teacher had us do this, including spears in our throats, back in the day #BGT.”

Judge Alesha also appeared to reverse her earlier red buzzer decision as Fakir successfully made it through his audition.

Britain’s Got Talent can be streamed on ITVX

Reed Hastings, who helped launched Netflix from a fledgling DVD mail-order business into a global streaming juggernaut, plans to exit the company after nearly three decades.

Hastings will leave the company he co-founded to focus on philanthropy and other efforts, the streaming company announced said Thursday.

Hastings, who serves as chairman of the Los Gatos company’s board, told Netflix he will not stand for reelection when his term expires in June, Netflix said in a letter to shareholders timed to its fiscal first-quarter earnings.

He said the commitment of Netflix Co-Chief Executives Ted Sarandos and Greg Peters was “so strong that I can now focus on new things.”

Peters described Hastings, 65, as the company’s “biggest champion,” and that he “is a part of our DNA.”

Sarandos called Hastings a “true history maker,” saying in a statement that Hastings’ “selfless, disciplined leadership style” will continue to shape Netflix’s path ahead.

Hastings’ exit was not unexpected as his role in the company diminished after he stepped aside as co-chief executive of Netflix in 2023.

During his tenure, Hastings oversaw the substantial growth of the streaming colossus. Today, Netflix has a market cap of about $455 billion, more than double that of the Walt Disney Co.

“My real contribution at Netflix wasn’t a single decision; it was a focus on member joy, building a culture that others could inherit and improve, and building a company that could be both beloved by members and wildly successful for generations to come,” Hastings said in a statement.

For the first quarter of 2026, Netflix reported nearly $12.3 billion of revenue, up 16% compared to the same time period a year ago. Operating income grew 18% to $3.9 billion for the three-month period ending March 31.

Both figures were ahead of the company’s guidance, a feat the streamer attributed to slightly higher than expected subscription revenue.

The company reported net income of $5.3 billion, up more than 80% compared to the $2.9 billion it recorded during the same period last year. Earnings per share was $1.23, up from 66 cents last year.

Netflix said it continues to expect 2026 revenue ranging from $50.7 billion to $51.7 billion, with an operating margin of 31.5%.

The earnings release and the Hastings announcement came after markets closed.

Netflix shares closed at $107.79, virtually unchanged. After hours, the shares dropped more than 8% to $98.26. They have climbed about 18% this year.

The Los Gatos-based company had previously secured an $82.7-billion deal to buy Warner Bros. studios and streaming services in December but it withdrew from the bidding war in late February after Paramount Skydance offered $31 a share. As part of the switch, Netflix was paid a $2.8-billion termination fee.

“Warner Bros. would have been a nice accelerant for our strategy, but only at the right price,” Netflix said in its investor letter. “We have multiple ways to achieve our goals (including producing, licensing, and partnering) and we’re constantly seeking to allocate our resources to the most attractive opportunities to maximize the value we are delivering to our members.”

Before Reed Hastings revolutionized the global entertainment business, he sold Rainbow vacuum cleaners door-to-door during his gap year between high school and Bowdoin College, where he earned his bachelor’s degree in mathematics.

During his sales pitch, Reed would first clean a homeowner’s carpet with their vacuum and then demonstrate how to clean using a Rainbow. The job helped hone his ability to understand customers, a core foundation of Netflix’s user-driven, candor-obsessed culture.

After Bowdoin and before he earned his master’s degree in computer science at Stanford, Hastings served in the Peace Corps (he also did a stint in the Marines) teaching high school math in Swaziland (now Eswatini).

“Once you have hitchhiked across Africa with ten bucks in your pocket, starting a business doesn’t seem too intimidating,” he told Time magazine.

While those experiences helped shape Hasting’s business sense, it was a late fee for a video that became the catalyst for launching Netflix, upending the way viewers consumed content and disrupting how Hollywood does business.

As the story goes, Hastings had misplaced a VHS tape of “Apollo 13” racking up a hefty $40 charge.

It was 1997 and his company Pure Software had just been acquired. It dawned on him that a gym membership offered a better business model, than the average video store — where you paid a set fee for the month and you could work out as much or as little as you liked. He thought, why not apply that to the movie rental business?

Netflix, began in Scotts Valley, Calif., as a mail-order business. Customers paid a tiered monthly fee to rent DVDs online which were delivered by mail.

The business exploded racking up millions of customers as it jettisoned the post office to an internet-based business. As the business accelerated across the world it also expanded, creating original content such as award-winning blockbusters such as “Stranger Things” and “House of Cards.”

The company’s innovation extended internally too. Hastings became known for implementing a unique and controversial culture of radical transparency, where employee evaluations are brutally candid and average performances can be grounds for termination.

The concept was a central theme of his 2020 book “No Rules Rules: Netflix and the Culture of Reinvention,” written with business professor Erin Meyer.

Times staff writers Meg James and Wendy Lee contributed to this report.

Bombs are in and art is out as the Trump administration’s proposed 2027 budget requests $1.5 trillion in defense spending (up 44% from last year), while again attempting to snuff out the National Endowment for the Arts and the National Endowment for the Humanities, as well as the Institute of Museum and Library Services.

The budget proposal released earlier this month calls for just enough money to permanently wind down the operations of each agency: $29 million for the NEA (down from $207 million); $38 million for the NEH (down from $207 million); and $6 million for the IMLS (down from $291.8 million).

Congress has the final say about whether or not these cuts actually get made, and Sept. 30 is the deadline to pass next year’s budget. (Failure to do so could result in yet another government shutdown.) It’s worth remembering that Trump tried to defund these organizations last year and was thwarted by Congress. But the administration did successfully choke off funding for the Corporation for Public Broadcasting, which ceased operations in January.

It’s hard to know how this renewed threat to agencies that collectively support thousands of arts programs and initiatives across all 50 states, Puerto Rico and Washington, D.C., will play out, especially because the only constant in this administration is its mercurial temperament. Plus, Congress doesn’t have a great track record of keeping Trump in check (see Venezuela, Iran, the White House East Wing, the Kennedy Center, etc.). The ongoing war in Iran, which pundits warn could last until the midterms, may also impact how Congress decides to vote.

In times of conflict and chaos, we need the arts — a sentiment so obvious it normally goes without saying. But this moment somehow feels different. There were many alarming moves that Trump wanted to make during his first term that the so-called adults in the room allegedly kept him from achieving. Those adults are gone and he is now surrounded with enablers. This means the unthinkable is now possible — as we have seen time and again over the past 15 months.

In a country without the NEA, NEH and IMLS, hundreds of small local arts groups would likely cease to exist entirely — and with them, the community, education and enlightenment that underpin our increasingly fragile, fractured society. We can close our eyes until it happens, or we can start urgently ringing the alarm bells. I vote for the latter. Here’s a link to get you started.

I’m Arts editor Jessica Gelt banging a gong. This is your arts and culture news for the week.

Dispatch: mots take on AI at Flux Festival

A participant experiences “The Pledge,” part of artist duo mots’ acclaimed “AI & Me” series, on view April 25 at Blum Gallery, Culver City, as part of Flux Festival.

(mots / Daniela Nedovescu and Octavian Mot)

Artist duo mots is staging one of its exploratory AI-centered exhibits — “The Pledge” — at the upcoming Flux Festival at Bloom Gallery in Culver City (April 24 and 25). Last year, mots received quite a bit of attention for its U.S. premiere of “AI & Me,” part of Tribeca Festival’s Immersive Program. That piece, according to mots website, “dives into the weird dynamics between humans and artificial intelligence,” by placing people in a confessional style booth while AI tells them exactly what it thinks of them.

“The Pledge” takes that concept further by inviting participants to stand on a stage while AI-generates a statement about them— one that is solely based on appearance. The person then must decide whether to read the AI feedback aloud into a microphone or leave. If you decide to share, you become part of the permanent video installation.

In this moment of deep AI anxiety, the mots’ work is tapping into more than just a playful back and forth between man and machine.

“On one hand, we’re thrilled to see people lining up to interact with the pieces we build; on the other, we’re trying to gather the courage to destroy them and stop this madness before it’s too late,” the mots write on their website.

— Jessica Gelt

Dispatch: Monster Party

The adult-centric interactive melodrama “Monster Party,” at Rita House through April 25.

(Clint Keller)

“Monster Party” starts with a moment of ecstasy. Then the adult-centric interactive play gets demented — a bit demonic, even. We meet characters shrouded in mystery. Guests at a cocktail party, there’s a writer working on a book about supernatural creatures, a vacuum salesman with a closely guarded secret, a repressed religious fanatic and more. None of them can remember how or why they ended up at this soiree, hosted by the confidently cryptic Baroness, a character who clearly delights in creating sin and madness. We’ll soon find out this isn’t an event for the lucky.

But that’s not just what makes “Monster Party” special. Remounted after a short theatrical run in 2024, the work from immersive creator Matt Dorado intermixes the personal and political. Lurid, humorous and sexy, “Monster Party” is also a scathing critique of how political systems can drive one mad.

Set during the Lavender Scare, the anti-communist purge of LGBTQ+ people from the U.S. government in the 1950s, “Monster Party” opens with camp and then descends into very real horrors of life in the United States. You’ll drink, play parlor games and gradually uncover one dark skeleton after another.

The intimate production is limited to 50 guests per showing, and cocktails are included in the $159.45 ticket. Come ready to socialize.

8 p.m. Thursdays and Friday; 3 and 8 p.m. Saturdays, through April 26. Rita House, 5971 W. 3rd Street monsterpartyshow.com

— Todd Martens

The week ahead: A curated calendar

FRIDAY
Chaya Czernowin
Monday Evening Concerts presents the U.S. premiere of the Harvard-based Israeli composer’s “Poetica,” which she describes as “a journey of one into themselves,” performed by percussionist Steven Schick and the percussion ensemble Red Fish Blue Fish.
8 p.m. Zipper Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. mondayeveningconcerts.org

The Last Days of Judas Iscariot
O.C. theater companies the Wayward Artist and Larking House team up for Stephen Adly Guirgis’ bold, darkly comedic courtroom drama set in Purgatory. Directed by Lizzy McCabe.
7:30 p.m. Friday and Saturday and April 23-35. Irvine United Congregational Church, 4915 Alton Pkwy., Irvine. thewaywardartist.org

Harry Fonseca
“Portrait of the Artist as a Young Coyote,” an exhibition of more than 30 paintings, prints and works on paper, follows the path of the late Native artist’s alter-ego, the Trickster Coyote, an exploration of his own identity and a means of challenging existing narratives. Also being exhibited is “Sedej Tuulémisé (Blood Relations),” featuring paintings by emerging artist Deerstine Suehead.
Noon-5 p.m. Tuesday-Saturday, through July 3. PDC Design Galleries, 750 N San Vicente, West Hollywood. pacificdesigncenter.com

Ryan Bancroft will conduct the L.A. Phil this weekend at Walt Disney Concert Hall.

(Carlin Stiehl/For The Times)

Shostakovich & Sibelius
Ryan Bancroft conducts the Los Angeles Philharmonic with cellist Alisa Weilerstein playing one of her specialties, Shostakovich’s “Second Cello Concerto.”
8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Liu Xiaodong
For the work presented in the exhibition “Host,” the figurative painter trained his eye on a Detroit tattoo artist with a penchant for medieval battle recreations.
10 a.m.-6 p.m. Tuesdays-Saturday, through June 13. Lisson, 1037 N. Sycamore Ave., L.A. lissongallery.com

SATURDAY
Back to Oz
MUSE/IQUE salutes a truly American fairy tale through music with pieces from “The Wonderful Wizard,” “The Wiz,” and “Wicked,” performed by Carmen Cusack, LaVance Colley, Nathan Granner, DC6 Singers Collective and the MUSE/IQUE Orchestra.
5 p.m. Saturday and Sunday; 7:30 p.m. Thursday and April 24; 2:30 and 7:30 p.m. April 25; and 2:30 p.m. April 26. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. muse-ique.com

Colored People’s Time: A History Play
From Civil War to civil rights, Leslie Lee’s drama, directed by Ben Guillory, examines the lives of Black Americans through a century of struggle.
8 p.m. Thursday-Saturdays; 3 p.m. Sundays, through May 17. Los Angeles Theatre Center, Theatre Four, 514 S. Spring St., downtown L.A. therobeytheatrecompany.org

The Expanding Field: MOCA’s Collection from the 1940s to 1970s
Works by Mark Rothko, Luchita Hurtado, Piet Mondrian, On Kawara, Robert Rauschenberg, Betye Saar, Anne Truitt and others illustrate the breadth of the museum’s holdings.
Saturday through Sept. 20. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org

Falstaff
Craig Colclough stars in LA Opera’s production of the energetic Verdi comedy about two wives turning the tables on an unwanted suitor in merry olde England.
7:30 p.m. Saturday; 2 p.m. April 26; 7:30 p.m. April 30, May 2 and 6; 2 p.m. May 10. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

Steven Culp and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

For Want of a Horse
Olivia Dufault’s comedy about an unusual love triangle involving a horse opens Echo Theater Company’s 2026 season. Directed by Elana Luo.
Opening night, 8 p.m. Saturday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; 8 p.m. Mondays, through May 25. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

Hear Now Music Festival
A chamber concert doubleheader (separate admissions): The matinee features Lyris Quartet, Brightwork Ensemble and HEX performing Hugh Levick’s “No Pasaran” for brass quintet; Ania Vu’s “Small Tenderness” for vocal ensemble and string quartet; Liviu Marinescu’s “String Quartet No. 1”; Bryan Chiu’s “Anthology” for piano and horn; and Tom Flaherty’s, “Recess” for string quartet. Lyris Quartet and Brightwork Ensemble return for the evening show with mezzo-soprano Peabody Southwell, and the music of Peter Knell, “Canciones de Agua” for mezzo-soprano and violin; Sean Heim, “there is no such thing as time” for mixed ensemble; Vera Ivanova’s “The Firebird’s Feather,” for flute solo; and Jordan Nelson’s “Join” for string quartet.
Chamber Concert 1, 3 p.m. (2 p.m. preview); Chamber Concert 2, 8 p.m. (7 p.m. preview). First Lutheran Church of Venice, 815 Venice Blvd. hearnowmusicfestival.com

Claudia Keep
In the exhibition “Water, Water, Everywhere,” the painter finds fascinating details in the life-giving liquid and all its forms, including rivers, ocean waves, clouds and afternoon coffee.
Opening reception, 4-6 p.m. Saturday; the exhibition runs through May 30. Parker Gallery, 6700 Melrose Ave., L.A. parkergallery.com

Kinship & Community: Selections from the Texas African American Photography Archive
The exhibition, a collaboration between Art + Practice and the California African American Museum, shares the work of Black photographers who documented life in the urban neighborhoods and rural villages of eastern Texas from 1944 to 1984. Saturday evening, exhibition curator and NYU professor Nicole R. Fleetwood and Getty Research Institute curator LeRonn P. Brooks will discuss the exhibition and the volatile time of great change that it captures.
The exhibition opening is 11 a.m.-5 p.m. Saturday and runs through Sept. 5. Art + Practice exhibitions space, 3401 W. 43rd Pl. L.A. Conversation, 6-7:30 p.m. Saturday. Art + Practice programs space, 4334 Degnan Blvd., L.A. artandpractice.org

Majestic Tango
Directed and produced by Miriam Larici and Leonardo Barrionuevo, this program features 13 dancers and six musicians using music, movement and storytelling to convey the passionate energy of Buenos Aires.
8 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org

Richard Mayhew, “West Bay,” 2004 Oil on canvas 36” x 48’.

(© Estate of Richard Mayhew. Courtesy the Estate and Karma)

Richard Mayhew
“Understory” surveys the artist’s work created between 1960 and 2023, when he saw his expressive landscapes as “an artistic reclamation of the land stolen from his Black, Shinnecock, and Cherokee-Lumbee ancestors.”
Opening reception, 6-8 p.m. Saturday; exhibition runs through May 30. Karma, 7351 Santa Monica Blvd., L.A. karmakarma.org

Natural HERstory
Drag performance meets real science in this 30-minute STEAM musical, developed by Drag Arts Lab and the Natural History Museum of Los Angeles County, and designed to engage elementary-aged learners.
11 a.m. Annenberg Community Beachhouse, 415 Pacific Coast Hwy., Santa Monica. eventbrite.com

Parsons Dance
David Parsons’ New York City-based troupe marks its 40th anniversary with a program set to the music of Milton Nascimento; Giancarlo De Trizio; Champion, Four Set & Skrillex (featuring Naisha); Miles Davis; Sheila Chandra; and Yusuf/Cat Stevens
7:30 p.m. Saturday; 2 p.m. Sunday. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org

The Storyteller of East LA
The Latino Theater Co. has the world premiere of Evelina Fernández’s magical realist drama about a 90-year-old woman with dementia and the challenges faced by her family and caregivers. Directed by Jose Luis Valenzuela.
8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through May 17. Los Angeles Theatre Center, 514 S Spring St., downtown L.A. latinotheaterco.org

Verdi in España
The Verdi Chorus performs sequences from the composer’s operas “Don Carlo,” “Il Trovatore,” “La Traviata” and “Ernani,” alongside Bizet’s “Carmen” and selections from Spanish composers Catán, Granados, Giménez, Torroba and De Falla.
7:30 p.m. Saturday; 4 p.m. Sunday. First Presbyterian Church, 1220 2nd St., Santa Monica. verdichorus.org

SUNDAY
Mozart’s Requiem
Grant Gershon conducts the Los Angeles Master Chorale in Mozart’s final masterpiece, plus the West Coast premiere of Fanny Mendelssohn’s “Oratorio on Scenes from the Bible.”
7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY
Yuja Wang and Mahler Chamber Orchestra
The celebrated pianist continues her long-standing collaboration with MCO for a program featuring works by Segei Prokofiev and Alexander Tzfasman.
8 p.m. Tuesday. McCallum Theatre, 73000 Fred Waring Dr., Palm Desert; 8 p.m. Wednesday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa; 7 p.m. Thursday. Granada Theatre, 1214 State St, Santa Barbara; 8 p.m. April 25. The Saroya, 18111 Nordhoff Street, Northridge. mahlerchamber.com

WEDNESDAY
Khorus Harmonia
Katey Sagal and Kurt Sutter are producing ten performances of this choral concert to benefit the Coalition for Humane Immigrant Rights and The Wounded Warrior Project.
8 p.m. Wednesdays-Saturdays; 4 p.m. Sundays, through May 2. Hudson Backstage Theatre, 6539 Santa Monica Blvd. onstage411.com

This Ends Badly
The theater collective Frank’s presents an evening of short plays by Frank Demma, Marlane Meyer, John Pellech, John Pollono, Benjamin Weissman and Sharon Yablon.
8 p.m. Wednesdays, through May 13. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com

Arts anywhere

New and recent releases of arts-related media.

The British Museum in London.

(Kin Cheung / Associated Press)

British Museum
As excitement builds for the opening of the new Geffen Galleries at LACMA on Sunday (for priority members; May 4 for the general public), one’s appetite may be whetted to visit other museums. Why not start in London with the British Museum? The sprightly 273-year-old institution boasts a collection of eight million works and draws more than six million visitors each year. But there’s no need for a plane ticket or a Tardis to see it. Google Arts & Culture offers virtual tours that allow you to wander the halls and grounds for free (and it won’t rain!). artsandculture.google.com

Philip Glass

Two opportunities to see the work of one of the finest American composers will soon be available with the click of a button or a tap of a screen. First up is “The Complete Philip Glass Piano Etudes featuring 10 Pianists” (which was performed at Walt Disney Concert Hall in 2024) streaming live from the 3,500-seat Hill Auditorium on the campus of the University of Michigan in Ann Arbor. 4:30 p.m. Saturday and on demand through April 28. youtube.com

Six days later, the Paris Opera offers its current, sold-out production of “Satyagraha,” Glass’ revelatory, triptych portrait of Gandhi. Directed by choreographers Bobbi Jean Smith and Or Schraiber, with a cast including Anthony Roth Costanzo and Davóne Tines — all four members of AMOC*, American Modern Opera Company — the show will be presented live on the Paris Opera Play streaming platform (for $14) at 10:30 a.m. April 24. POP’s live broadcasts are typically available on demand for 30 days following transmission. play.operadeparis.fr

— Kevin Crust

Culture news and the SoCal scene

Pooya Mohseni, from left, Ava Lalezarzadeh, Tala Ashe and Marjan Neshat in “English” by Sanaz Toossi at the Wallis Annenberg Center for the Performing Arts.

(Joan Marcus)

With the U.S. at war with Iran, “This is an important moment to experience ‘English,’ Sanaz Toossi’s Pulitzer Prize-winning drama, set in an English-language classroom outside of Tehran in 2008,” writes Times theater critic Charles McNulty. “The play, now having its L.A. premiere at the Wallis Annenberg Center for the Performing Arts, reminds us of the lives — the hopes, the dreams, the sorrows — on the other side of the headlines.”

It’s been an anxious journey for Bob Baker Marionette Theater since 2019 when it was forced out of its downtown home of 55 years. After a lengthy search, the nonprofit signed a 10-year lease for a former cinema-turned-Korean Church in Highland Park. With that, however, came the accompanying stress of being renters in L.A. But good news has arrived: the beloved theater “has entered into an agreement to purchase its [current] home at the corner of York Boulevard and North Avenue 50,” reports Times features columnist Todd Martens.

The Samuel Oschin Air and Space Center is a major expansion of the California Science Center.

(Myung J. Chun/Los Angeles Times)

California Science Center has completed construction on its new $450-million Samuel Oschin Air & Space Center, which houses the Endeavor shuttle. Staff writer Malia Mendez headed onsite to get the scoop on the, “sleek 20-story, 200,000-square-foot new building rising over Exposition Park,” nearly doubling the museum’s exhibition space.

The impossibly trendy SoCal health food retailer Erewhon is launching a cafe at Los Angeles County Museum of Art’s new David Geffen Galleries. And, like almost everything about the new building, public opinion is split on whether or not that’s a good idea.

Architecture writer Sam Lubell put together a fascinating Q&A with Peter Zumthor in which the Geffen Galleries’ architect addresses a number of ongoing criticisms about his creation, including its loss of square-footage.

In case you missed it: Pop singer Pink has will host the 79th Tony Awards. “The award ceremony returns to New York City’s Radio City Music Hall on June 7, with nominations announced May 5,” writes Times reporting fellow Iris Kwok.

Nathan Peterson, Cell 63 Flyer, May 29, 1992, displayed in CSUN Art Galleries, which received a Mike Kelley Foundation grant.

(© Nathan Peterson, Punk Arts & Culture)

It’s been a decade since the Mike Kelley Foundation for the Arts began awarding Infinite Expansion Grants to local contemporary arts organizations. The money has always mattered, but means even more during a time of great uncertainly about federal support for the arts (as I wrote in my newsletter intro). This year’s round of grantees was just announced, with nine L.A. contemporary arts groups sharing $400,000 in support. These groups, a news release says, “exemplify risk-taking, critical inquiry, and community engagement,” and include Art in the Park Community Cultural Programs; Color Compton; Cal State University, Northridge Foundation on behalf of CSUN Art Galleries; Barnsdall Art Park Foundation on behalf of Los Angeles Municipal Art Gallery (LAMAG); Los Angeles Performance Practice; Monday Evening Concerts; Clockshop; Institute of Contemporary Art, Los Angeles (ICA LA); and the Vincent Price Art Museum Foundation.

Big change is coming to the Soraya and California State University, Northridge. Artistic and Executive Director Thor Steingraber, is leaving his position after 12 years to become president and chief executive at Vivo Performing Arts in Boston. The Soraya has also announced Steingraber‘s replacement: Chad Hilligus. Hilligus arrives at CSUN from the Gallo Center for the Arts in Modesto where he served as chief executive and curated more than 100 multidisciplinary live performances.

And another leadership shakeup has come to the Los Angeles Master Chorale, which announced that its current president and chief executive, Scott Altman, will step down on June 5 to become executive director of Miami City Ballet. Master Chorale board member William Tully will serve as interim president while the group launches a national search for a replacement.

— Jessica Gelt

And last but not least

It doesn’t get much weirder than this: Hegseth recites ‘Pulp Fiction’ speech at Pentagon prayer service

KATIE Price’s son Harvey has called her new husband Lee Andrews “daddy” after appearing to confirm Lee’s travel ban.

The self-proclaimed businessman, 43, took to his Instagram stories today to share a picture that Harvey had drawn for him.

In the picture, two frogs are seen sitting next to each other with a love heart saying “I love you” in between them.

He addressed the drawing to “Mummy Bullfrog and Daddy Lee Bullfrog,” and said: “I hope you have a great Valentine’s Day and a happy holiday, love from Harvey.”

Lee wrote under it: “Harvey Price. You are just the best human,” as Katie reshared his story on her own profile.

It comes after The Sun revealed Lee’s devotion to Harvey with an apparent tattoo on the side of his left hand.

RUBLE RIDDLE

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WHEELY UNHAPPY

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Harvey’s name could be seen in a fancy font alongside an image of a frog, the 23-year-old’s favourite animal.

He’s yet to fly to the UK and meet her children in person but no doubt he’s spoken to Harvey via FaceTime.

Lee and Katie, 47, tied the knot in a secret ceremony in Dubai back in January before having a second ceremony the following month.

Ever since the pair tied the knot, there’s been constant speculation that Lee is unable to leave Dubai, where he resides full-time.

It was reported that he allegedly forged his ex-girlfriend Dina Taji’s signature to secure a £200,000 loan – something he’s strongly denied.

On several occasions, he’s claimed he’s coming to the UK but each time, he hasn’t ended up coming.

During the latest episode of her podcast with her sister Sophie, the former glamour model was asked directly about Lee’s situation.

She said: “Of course I’m going back to Dubai and Lee will come here when he needs to.

“People have to remember he’s lived in Dubai for 21 years, that’s where he lives and where he does his work. There’ll be a time when he does come to England and he’ll be with me.”

Sophie replied: “I thought he had a travel ban?”

While not confirming whether or not Lee is unable to leave the city, Katie said: “Do you know what? Everyone has said to me you can get a travel ban over anything in Dubai.

“A parking ticket or if you owe a bill for electricity or something… you can get a travel ban for absolutely anything.”

Sophie asked: “Do they do anything like that over here?”

The I’m A Celebrity star joked: “No. If they did, I’d be banned for life! But yeah, you can get one for even breathing the wrong way in Dubai. It’s so strict.”

A clip from the podcast was posted on social media, with Katie writing: “Lee’s travel ban… it’s so strict!!!!”

On Thursday, Lee claimed he’s moving to the UK in May.

Posting on his Instagram Stories he shared an image of him with Katie, which read: “LEE ANDREWS CONFIRMS RETURN TO UK.

“With his gorgeous wife Katie to support her family and career commitments.

“The couple are stronger than ever and will make the commitment to live together this coming May. Ahead of their Winter Wedding this Year.”

This year’s festival will take place Saturday and Sunday at the USC campus, and it’s packed with a mind-boggling array of great participants and exhibitors. You can peruse the complete schedule, download the book festival app, and book your parking and panel reservations here.

I have warm fuzzy feelings about the festival, attending as a budding writer in the early aughts. As someone who aspired to “go long” but had no clue how to go about doing it, the event was an inspiration: all these hot-shot authors talking about their craft, and free admission no less.

Of course the event wasn’t the sprawling, magnificent behemoth it is now, with cooking demonstrations from the world’s greatest chefs, and bestselling children’s authors reading to tiny budding bibliophiles. The first festival in 1996 drew 75,000 book fans; last year, more than twice as many people showed up.

As the festival grew, so did the excitement. In 2007, I waited in line along with hundreds of other fans for the privilege of hearing Gore Vidal talk about his craft in UCLA’s Royce Hall. Gay Talese, one of my journalism heroes and a veteran of some of the very first festivals in the late ’90s, was always a pleasure. His stories about breaking into the New York Times conjured up a lost world that seems positively antediluvian now. “If you show up in a three-piece suit and a hat, and you look like you might have taken a bath recently, they don’t kick you out as fast,” Talese told a packed crowd in 2008.

By that time, much to my astonishment, I knew Talese personally. In 2004, I was working on a book about the New Journalism movement that he spearheaded. That year, he asked me to join him at the book festival as a guest. It was my first time in the “green room,” the backstage area where authors socialize over food and drinks. After ogling all the A-list talent in the room, I was asked by Talese to join him for lunch at a table along with novelists Jane Smiley and John Kaye, historian Doug Brinkley and social critic Naomi Wolf, all of whom were appearing at the festival. Reader, my mind was suitably blown. I just kept my mouth shut and listened.

I will be moderating a panel Sunday at 1:30 p.m. at the Ray Stark Family Theatre (plug) and I can’t wait. There is nothing like this festival; it is The Times’ annual gift to the Southland, and we should all be grateful we get to enjoy it.

Here are some of this weekend‘s festival highlights. All panels are an hour in duration.

📚 Ultimate Festival Guide

Saturday

Drawn to Life: A Conversation on Graphic Novels

Graphic novelists Henry Barajas, Eagle Valiant Brosi, Anders Brekhus Nilsen, Mimi Pond and Angie Wang discuss their latest graphic novels, each of which is based on true events or popular myths.

Where: Albert and Dana Broccoli Theatre
When: 10:30 a.m.

Robert Kirsch Award Winner Amy Tan in Conversation with Thomas Curwen

Acclaimed author Amy Tan is the recipient of the 2025 Robert Kirsch Award for lifetime achievement, which recognizes a writer with a substantial connection to the American West. Tan’s expansive body of work, including essays, memoirs and bestselling novels “The Joy Luck Club,” “The Kitchen God’s Wife” and “The Bonesetter’s Daughter,” is widely celebrated for its profound exploration of the immigrant experience, family bonds and the quest for individual identity. Join us for a conversation with Amy Tan and award-winning former Los Angeles Times writer Thomas Curwen.

Where: Bovard Auditorium
When: 10:30 am

Modern Family: Humor, Chaos, and the Absurdity of Contemporary Life in Fiction

Novelists Jade Chang, Kevin Wilson and Sarah Levin discuss their new novels, which are fresh examinations of family in contemporary life: the ones we’re born with, the ones we make, and the ways we reach out for connection in an increasingly isolated, chaotic, and lonely world.

Where: Hoffman Hall, Edison Auditorium
When: 11 a.m.

The Mirror Effect: When The Writer Becomes The Story

Lana Lin, Melissa Febos, Susan Orlean and Amanda Uhle have produced literary and artistic work that has shaped conversations, influenced culture and established them as leaders in their fields. Now, they turn the pen inward and become the story. Exploring their careers, relationships, sexuality and more, these writers offer a rare and intimate look at the vulnerability, creativity and humanity behind their work

Where: Town and Gown
When: 1:30 p.m.

Democracy, Fascism and America Today

Join California Atty. Gen. Rob Bonta, Steven J. Ross, Omer Aziz, Erwin Chemerinsky and Los Angeles Times reporter Seema Mehta for a conversation about the state of our freedoms today and what our current political atmosphere could mean for the future of our democracy.

Where: Hancock Foundation, Newman Recital Hall
When: 1:30 p.m.

Sunday

Raising Gen Alpha: Parenting Today

How do we raise children in an age of rapid technological change, political polarization and global uncertainty? Drawing from their new books and their experience as parents, Reza Aslan and Jessica Jackley will explore how to have honest, age-appropriate conversations with kids about complex and challenging topics, while psychologist Darby Saxbe shares groundbreaking research on the science of fatherhood.

Where: Wallis Annenberg Hall
When: 10:30 a.m.

The Mosaic of Us: Individual Memoirs and the Collective Truth of Black Life in America

Join Austin Channing Brown, Tre Johnson, Tamika D. Mallory and Carvell Wallace as they reflect on the moments that shaped their lives, work and perspectives. Through individual stories of resilience, love, purpose and self-discovery, their experiences weave together like a mosaic to form a deeper collective portrait of Black life and identity in America today.

Where: Hancock Foundation, Newman Recital Hall
When: 10:30 a.m.

Poetry, Power & Sovereignty

Panelists Matthew Cuban Hernandez, Karla Cordero, Sonia Guiñansaca and Yesika Salgado will dive into what it means to be autonomous, to be your own supreme authority, to belong to yourself, the land(s) and people you choose.

Where: De Los Stage
When: 12:50 p.m.

Lionel Ritchie in conversation with Mikel Wood

The legendary performer will discuss his new book “Truly” with the Times’ pop music critic.

Where: Bovard Auditorium
When: 2:30 p.m.

Looking Deeper: The Asian American Experience in Historical Fiction

Christine Bollow, Karen Tei Yamashita and Naomi Hirahara dive deep into the myriad Asian American experiences at turning points in American history, shedding light on untold stories and essential characters in our shared history.

Where: Hoffman Hall, Edison Auditorium
When: 3:30 p.m.

With its sunsoaked Californian desert setting, A-list celeb guests and top music acts, hip US festival Coachella might look like the dream destination when scrolling through the Instagram feed of one of the myriad of Love Island stars in attendance.

But while influencers are given the VIP experience, thanks to the brands who pay big bucks to take them there for free, the reality for normal punters can be a whole different story.

As the cult festival kicks off its second consecutive weekend in Palm Springs, social media has been awash with complaints from regular folk exposing the ‘truth’ about what it’s like to go there as a non VIP – and it makes for some pretty grim reading.

From nightmarish queues for cold showers, to hefty £3,000 price tags for three days at the event, various TikTok testimonials may make you think twice before booking for next year’s gig.

As someone who went as a normal person and not as an influencer, it was one of the worst concert experiences I’ve ever had,” TikTok user @lottiestars ranted in a recent social media video.

“Firstly, there’s no place for you to be dropped off. The festival is, like, really disorganised. So I remember we asked 20 different people: ‘Where do we go?’ and they they were like: ‘Oh, we don’t know’. And they actually worked for the event! So you’ll end up sitting in traffic for most of the time before you can find a spot and get dropped off.”

PARTIED HARD

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PEACHY SNAP

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She added that when she then finally arrived, the event proved a nightmare for her pal who was disabled.

“You have another what feels like an hour long walk to actually get into the festival, you have to do is on this super dusty, bumpy, unpaved road, which was really hard for my friend because they were in a wheelchair… they kept getting knocked over and falling out of their wheelchair, so it was not like wheelchair accessible.”

Once inside the venue, Lottie alleged that the atmosphere was not enjoyable thanks to a myriad of influencers creating a stressful environment.

“Everyone’s vibe is really, really bad. A lot of people were pretty mean. They’re like, ‘No, you’re not coming this way and stuff, you can’t go through’ so it’s harder to work your way through the crowd or to reconnect through your friends.

“It’s not as easy to take cute pictures as you think. Literally, everyone’s taking pictures. It’s like a field of cow, but instead of cows, it’s people.”

To top it all, Lottie wrapped up her video by claiming she got sick from the notorious desert winds.

She said: “I was so sick because during the daytime, it’s burning hot, and then at nighttime, it’s freezing cold, and the dust is really, really intense. Like, you’ll blow your nose, and they’ll be black dirt coming out of your nose.

“The third night, I couldn’t even enjoy the festival, and I probably was only there for like 30 minutes and I had to leave.”

And it seems this is far from a one-off negative review.

The Strokes fan @emilyjadebispo says her experience watching her favourite band was ruined by influencers who were only there to watch Justin Bieber and had no idea about ‘festival etiquette’.

She claimed: “The people around me who were there for Justin Bieber were f***ing insufferable. Oh, my God. It’s like they have never been to a festival before. They have no idea what it’s like that other genres exist.

“They are just completely unaware of any sort of concert etiquette at all. The people to my left, during one of my favourite bands sets, were talking the entire time saying: ‘I don’t even know who this is. What even is this? This is really honestly killing my vibe for Bieber.’”

For those who camp and aren’t holed up in pricey villas like the influencer crowd, some describe the experience as “endurance training.”

@huioyg3 said in one TikTok video: “Basic shower access has turned into a survival challenge, people are waiting in line for hours just to get a quick rinse, often with freezing cold water.

“To avoid this nightmare, some festival goers are spending hundreds of dollars on portable shower setups, building their own tents just to maintain a sense of hygiene.

“Another issue is making things worse, extreme heat. Phones are overheating, energy levels are dropping, and what’s supposed to be a fun four day experience is starting to feel more like endurance training.”

Of course, the biggest issue for many is how the festival impacted their wallet.

General admission tickets cost around $799 [£590] for three days, while VIP – which allows you to get closer to the stage and gives you a shuttle pass into the venue – will mean you shell out even more, clocking in around $1299 [£959].

“Coachella started as a low price event to protest against high cost events,” one music fan vented online.

“How are people affording this?” fumed another.

Some, however, claimed it was worth the price of VIP.

“It was 100% worth it We do get closer viewing to some of the stages. And honestly, when the big performers do come out, it gets super packed,” said tiktok user @noesilva

If you shun camping though, hotels can be extortionate due to high demand, as Noa explains.

“Next thing I spent money on was a hotel, which was the most expensive part. It was $2,300 [£1698] for three nights, and I know it sounds like a lot of money, but for me personally, I was not going to go camping.

And finally, you got to think of all the extra expenses that are probably gonna be happening during the trip, which is food, drinks, merch, like all the extra stuff that you’re going to be paying for, and realistically, that’s going to cost me around $500 [£370]. So in total, this trip is costing me around $4,000 [£2950].”

Another furious former Coachella fan, Nick Holiday, summed it up in a top-rated TikTok video.

“They’re charging $100 [£74]for one bite of caviar, four chicken nuggets and seven french fries. That’s honestly a crime against humanity.”

Most Angelenos know Frank Gehry as the rebel architect whose deconstructivist buildings reinvigorated L.A. amid its late-century identity crisis.

Fewer know him as the sentimental sculptor celebrated in Gagosian Beverly Hills’ upcoming “Frank Gehry” exhibition, the first to showcase Gehry’s work since his death in December. Curated by those who worked with and loved the famous architect, the show, scheduled to open May 14 and run through June 27, is equal parts tribute and art presentation. It will feature several of Gehry’s animal-themed sculptures, including a rarely seen stainless steel bear figure, on loan from the artist’s family.

The exhibition will also include the first public screening of Gehry’s entry in Gagosian Premieres, a series of videos by the gallery showcasing new art exhibitions through a mix of intimate artist interviews, studio visits and specialized musical performances.

By spotlighting Gehry’s artistic practice rather than his design ouevre — which includes Walt Disney Concert Hall, Guggenheim Museum Bilbao and Fondation Louis Vuitton — the exhibition reveals a different side of the late visionary, said Deborah McLeod, senior director at Gagosian Beverly Hills.

“I wouldn’t say it’s a retrospective, but it is a chance to stand in the room and be with him,” McLeod said, adding that she “wouldn’t have the hubris to say this is going to offer anybody closure,” but that she hopes it will help people — especially those who worked closest with Gehry — to process his loss.

“Everybody is kind of raw and missing Frank, and it’s just a chance to come together and do this again as his team,” she said.

McLeod curated the exhibition alongside Meaghan Lloyd, chief of staff and partner at Gehry Partners, whom the director said “really speaks for Frank.” Gehry‘s studio will design the show, which was realized in collaboration with the artist’s family.

“We didn’t get a chance to put one in the gallery proper. Every time we’d make one, it would get sold,” Deborah McLeod said about Frank Gehry’s bear sculptures.

(© Frank O. Gehry. Photo: Benjamin Lee Ritchie Handler / Courtesy Gogosian)

The highlight of the Gagosian exhibition is an artist proof of “Bear with Us” (2014), which the gallery lifted out of Gehry’s wife Berta Aguilera’s garden with a crane. Another edition of the bear sculpture is on view at the New Orleans Museum of Art, but at Gagosian, the work for the first time will be on view as part of an exhibition.

The stainless steel figure has a crumpled appearance that many believe is the result of Gehry balling up a piece of paper and seeing the bear in the crumple, although McLeod said Gehry told her himself that wasn’t true. The director added that the bear’s form gives the illusion of something “coming into being or dissolving.” The sculpture will likely have the Gagosian’s north gallery completely to itself.

“We’re really going to give him his due,” McLeod said. It was only right for a piece that, to her, reads as Gehry’s “self-portrait.”

A handful of other animal-themed sculptures will populate the south gallery, including a glowing black crocodile, gouache-painted papier-mâché snake lamps, and “Fish on Fire” (2023), the last of Gehry’s fish sculptures to be rendered in copper. Illuminated within the darkened gallery, the pieces will have a “magical” flair, McLeod said.

The first fish sculptures Gehry made in the ’80s were contained, even still. But when he returned to the fish form 30 years later, Mcleod said, “they started to become actually Baroque, so that’s kind of neat to see that evolution.”

Rounding out the exhibition are a series of ink, watercolor and acrylic works on paper that “express the energetic motion of fish in networks of black line and clouds of color,” a news release said.

A portion of the pieces in the exhibition will be available for purchase, with a detailed checklist to come.

The first Frank Gehry Fish Lamps were exhibited in 1984 at Gagosian in Los Angeles.

(© Frank O. Gehry. Photo: Robert McKeever / Courtesy Gagosian)

Gehry’s designs breathed life into the city’s core, but he didn’t get to finish a number of his most exciting plans, including one to transform the 51-mile-long L.A. River.

And while his architecture was his great gift to his adoptive hometown — his art was his gift to himself.

“As one of the busiest architects in the world, imagine the math and the minutiae that you have to go through,” McLeod said, noting the enormous pressure from clients that Gehry must have felt in his daily practice.

“For him, just to make something the shape he wants to make it, plug it in … I know it was a huge relief for him,” she said. “I know how much he loved doing it, and I loved being a part of that part of his life.”

How’s Lee Cronin doing? Fine. You know, still making movies. This one’s his third feature. Somebody — perhaps it was Lee Cronin himself, probably not — wanted us to know that his latest project, “Lee Cronin’s The Mummy,” was no mere mummy movie. Certainly not the one you have in mind: bandaged dead guy, ominous hieroglyphics, maybe Brendan Fraser. This is not that mummy movie. This is “Lee Cronin’s The Mummy.”

As for what that possessive credit means, we’re still in a haze. Cronin’s previous outing was “Evil Dead Rise,” a sequel heavily devoted to the gooey game plan mapped out by Fede Alvarez’s 2013 rethink of Sam Raimi’s gross-out comedies. In our current moment, when horror seems to be mining an especially rich vein (we’ve even seen an Oscar go to an unforgettable witch in “Weapons”), Lee Cronin represents the safe old ways of dutiful stewardship, getting the job done for a generic night out.

There are worse sins in the world. And sometimes the best way to introduce an ancient Egyptian curse is via a prologue that’s tonally very much like the one in “The Exorcist.” Who is the spooky, smiling woman beckoning to a young girl at the edge of her garden? No matter. The kid goes missing and, eight years later, her American family, since relocated to suburban New Mexico, is still feeling the loss: TV reporter Charlie (Jack Reynor), his haunted wife Larissa (Laia Costa) and their two semi-surly children, Maud (Billie Roy) and Sebastián (Shylo Molina).

When their precious Katie (a game Natalie Grace) is somehow returned to them, though, nearly catatonic with wrinkled, desiccated skin and gnarly toenails that would make a pedi technician shriek, it’s hard to blame them for feeling euphoric. Working from his own screenplay, Cronin barrels over the gaping plot holes — a doctor might have some thoughts here — and gets to the good stuff with the family at home in squirm-inducing close quarters, a live-in demon resting in her bedroom.

“Lee Cronin’s The Mummy” works best as a variation on Ari Aster’s career-making “Hereditary,” slicker and less guilt-ridden, with Grace’s Katie prone to jaw-snapping clicks and faraway looks, a spin on Milly Shapiro’s hypnotic turn as a doomed host. Eventually, things get more obvious: a levitating wheelchair, some skittering around on the ceiling. If Cronin does have a signature — more of a penchant, really — it’s for juicy gore, Katie’s skin peeling off in sheets. She goes to town on her own teeth.

All these moments are good for audience groans and there’s an enjoyable bad movie here for the seizing — that is when Cronin isn’t steering the action back to Egypt for an underpowered mystery thread involving a one-dimensional Cairo detective (May Calamawy) pursuing the root of the trouble. Why deploy a plummy archaeology professor (Mark Mitchinson) if you’re only going to give him a single scene to cut loose? He’s the kind of character who usually makes it to the big finale.

The film is tangled in its mess of references: a possession thriller that also wants to dish out some grainy video footage à la “The Ring” or “Bring Her Back” along with the expected mouth-to-mouth vomiting. Ironically, an honest-to-goodness mummy movie consumed with exotica (the first one from 1932 was released in the wake of the global mania over King Tut’s tomb) makes a lot of sense right now, with America straying into foreign deserts.

Was that in mind at any point? You’d have to ask Lee Cronin. It’s his movie and these are his mummy issues.

POP icon Madonna stunned festival-goers with a racy return to the Coachella stage as a surprise guest alongside Sabrina Carpenter.

The 67-year-old music legend teamed up with Espresso singer Sabrina for a show-stopping finale – dressed-to-impress in purple lingerie.

Two decades after her own epic headlining slot at the Californian festival, the queen of pop turned heads in a flesh-flashing frilly outfit.

Wearing a purple corset with matching lilac gloves, purple stockings and knee-high stiletto boots, the comeback queen accessorised with tinted shades and her long blonde hair down in waves.

She joined a lingerie-clad Sabrina, 26, who wowed in a white lace sparkly bodice and heels during her headline set at Coachella.

The duo delighted the crowds with classic hits including Vogue, Like A Prayer and I Feel So Free from Madonna’s new album.

PEACHY SNAP

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HER MADGESTY

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Sabrina had been mid-performance when an instrumental tease of Madonna‘s 1990 hit song Vogue weaved in.

Madonna told the cheering audience: “Wow, thank you.

“Sabrina, thank you so much for inviting me on your show.”

Holding hands, she replied: “No thanks needed, Madonna.”

“Well, I have a few things I want to get off my chest. So, 20 years ago today I performed at Coachella,” admitted the Ray of Light singer.

“I was in the dance tent and it was the first time I performed Confessions On The Dance Floor part one in America.

“It’s a full circle moment, you know? Very meaningful for me.” 

She urged: “Let’s try to be together. Let’s try to avoid disagreements.

“And to that point, the great thing about music is that it brings people together. 

“It’s the one place that people have to put their differences aside, put their s**t down and just everybody have a good time together, right?

“So I am thrilled to be a part of that healing experience…”

The Vogue singer confirmed this week that she will release her first record in seven years this July — a sequel to her 2005 smash Confessions On A Dance Floor.

The original, inspired by disco and Eighties electropop, shifted more than 10million copies.

It featured No1 singles Hung Up and Sorry, and ushered in a new era of dance music.

In 2024, Sabrina paid ­tribute to Madge by attending the MTV VMAs in a vintage strapless gown previously worn to the Oscars by her musical hero in 1991.

Sabrina said of Madonna last year: “She’s so lovely and exactly how you expect her to be — just, like, so magnetic.”

The Please Please Please singer has thrilled fans sharing a photo dump containing some sizzling snaps of her festival stint – including a mini dress, knee-high boots and beret combo.

Meghan Trainor is turning off the microphone.

The singer announced in an Instagram Story that she is canceling her Get in Girl tour. “This is the right decision for my family and me right now,” Trainor explained Thursday, saying that the decision came “after a lot of reflection and some really tough conversations.”

“Balancing the release of a new album, preparing for a nationwide tour and welcoming our new baby girl to our growing family of five has just been more than I can take on right now, and I need to be home and present for each and all of them at this time,” Trainor wrote.

Trainor apologized to her fans, but promised that she will be “back soon.” She also shared that she “can’t wait” for fans to hear her new album, “Toy With Me,” which will be released April 24.

“I know this will come as a disappointment to my fans, and I am so sorry to let you down,” Trainor said. “I’m endlessly grateful for your love and support always.”

Trainor announced the Get in Girl tour in November and was set to kick it off June 12 in Clarkston, Mich. The tour included stops at Madison Square Garden in New York City and the United Center in Chicago and was to conclude at the Kia Forum in Los Angeles.

Social media users speculated that the tour’s cancellation was due to low ticket sales, with Ticketmaster seating charts in some stadiums showing very few seats sold. Influencer and Trainor’s close friend Chris Olsen took to TikTok to push back against the “predictably vicious” online comments about the tour.

“This is a bigger conversation than just her and people’s feelings toward Meghan,” Olsen said. “The question that always comes up for me is ‘Why? And what is the end goal?’”

The singer welcomed her third child with her husband, Daryl Sabara, via surrogate in January. Trainor, who has been candid about her struggles during her first two pregnancies, explained on Instagram that she was “forever grateful to all the doctors, nurses, teams who made this dream possible.”

“We had endless conversations with our doctors in this journey and this was the safest way for us to be able to continue growing our family,” Trainor wrote.

LOUIS Tomlinson’s sisters have unfollowed Zayn Malik online after he punched their brother in the face during a vicious row.

The clash came as the former friends filmed a three-part road trip for Netflix.

Now, his sisters Phoebe and Lottie have unfollowed Zayn online – but still follow the other One Direction boys Harry Styles and Niall Horan.

In an interview with Livelaughlukepod hosted by @lukehamnett, Phoebe and her twin sister Daisy didn’t hold back on who their favourite One Direction member was.

They twins revealed: “Niall was always the loveliest. And even when we were little, he was just very nice and caring and always cute with us.

“Liam’s not with us anymore, but he was always that for me. Yeah, so calm. He was so sweet.

HEALTH SCARE

Zayn Malik rushed to hospital with mystery illness and is ‘still recovering’

1D AT WAR

Zayn Malik PUNCHED Louis Tomlinson after making remark about his late mum

“He would always say hi and he’d remember your name and stuff.

“Whereas the others, not obviously mentioning names, didn’t really even know who you were or remember your name.

“Liam always took time and came and said hi to our grandparents and little things like that.”

Netflix has since axed the multi-million-pound project which had aimed to show Zayn and Louis bonding over shared memories of pop stardom.

A source said: “Louis was stunned and in shock. Zayn was wearing rings so it cut his head. It happened outside in front of so many people.”

Sources told The Sun their astonishing on-set row was triggered by Zayn’s remark about Louis’ mum Johannah Deakin, who died of leukaemia in 2016.

A source revealed: “The lads were filming on location. Zayn started acting up and was mouthing off.

“It spiralled into a row then Zayn made a remark about Louis’ mum Johannah.

“Louis was stunned and in shock. As he went to move, Zayn then attacked him.

“Zayn punched him straight in the face.

“Because he was wearing rings it cut Louis’ head.

“He was pulled away and Louis was taken for medical treatment. He was left with a concussion. This happened outside in front of so many people. It was shocking.”

The Sun understands Louis and Zayn – who last night shared a picture of himself in hospital with a mystery illness – have not spoken since the incident six months ago.

It is understood Netflix finally decided to cancel the three-parter  last month, after hopes of the pair reconciling dwindled.

We told last October how Louis, 34, and Zayn had signed for the show and to be filmed discussing their lives and experiences of pop stardom.

It was hoped they might even open up  about the tragic death of bandmate Liam Payne, 31, in a hotel balcony fall in Argentina in October 2024.

The bust-up between Louis and Zayn happened when  filming reached Wyoming.

Insiders said that after receiving medical treatment, Louis left for the UK, while Zayn returned to his farm in Pennsylvania.

A source said: “What clearly hurt Louis the most was Zayn’s comment about his mother.

“Zayn knew how much Johannah means to Louis and his family.

“It made Louis so upset, it was clear there was no way he would ever return to filming with Zayn.”

“The decision was taken to axe the series.”

A source added: “Netflix had thought they’d hit the jackpot when Louis and Zayn agreed to film together.

“It was a big budget show, it cost millions to make.”

Neither Louis nor Zayn have ever spoken about the documentary or why it ended.

One Direction  sold more than 70million records worldwide at the height of their fame.  

Anyone who thinks Coachella’s biggest surprises are reserved for Weekend 1 was proven wrong Friday night as Sabrina Carpenter welcomed Madonna on stage during her Weekend 2 headlining set. The crowd exploded with waves of cheers as the iconic pop star came on stage.

Madge joined Carpenter as a surprise guest during “Juno,” in which Carpenter reemerged in a gown that was a nod to Botticelli’s “The Birth of Venus” for a torch-passing duet of Madonna’s 1990 pop-house gauntlet “Vogue.”

The classic was followed by the debut of the gloriously upbeat “I Feel Free,” the first track from the pop icon’s forthcoming new album “Confessions II,” due out July 3.

The singer announced the record, a sequel to 2005’s “Confessions On A Dancefloor,” on April 15, alongside a 60-second teaser video for “I Feel Free.”

The Coachella performance, however, marks the first time the song has been heard in full — a fitting full circle moment 20 after Madonna played the Sahara Tent in 2006, complete with the same boots and costuming from that gig. “Confessions II” will be Madonna’s first full-length album since 2019’s “Madame X.”

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“Let’s try to be together. Let’s try to avoid disagreements,” Madonna said as she spoke about the moon and planets aligning.

Before the pair ended with “Like a Prayer,” accompanied by a choir, Madonna had another reason to be grateful.

“This is probably the first time I’ve ever performed with someone shorter than me,” Madonna said to Carpenter as the crowd laughed. “Thank you for giving me that experience.”

Senior Audience Editor Vanessa Franko contributed to this report.

Coronation Street legend Kevin Kennedy played beloved character Curly Watts for 20 years

Coronation Street icon Kevin Kennedy portrayed Curly on the ITV soap for two decades, but off-screen, he battled addiction.

Curly made his debut in the summer of 1983 and is fondly remembered for his romantic misfortunes and a succession of unsuccessful marriages. He was married to Rovers Return barmaid Raquel (Sarah Lancashire), though regrettably, they ended their rocky marriage after just five years.

Ultimately, however, Curly discovered contentment with his second wife, police officer Emma Taylor (Angela Lonsdale). The couple left the cobbles and set off to begin a fresh chapter in Newcastle-upon-Tyne following a perjury incident in 2003. Tragically, their marriage didn’t survive.

Curly returned briefly in a 2010 DVD special for the Coronation Street film A Knight’s Tale, where he disclosed that he and Emma had separated, leaving Curly single once more, reports the Daily Star.

Kevin’s health battle

Away from the BBC soap, Kevin struggled with alcohol addiction and has remained clean and sober for 27 years.

Speaking to The Mirror in 2013 regarding his addiction, Kevin admitted he would add shots of rum to his coffee. He would then consume a bottle of vodka before arriving at the Corrie set, where he secretly drank more in his dressing room to cope with filming.

Kevin said, “If it wasn’t for Coronation Street, I would be dead. If I were lucky, the drink would have killed me straight away by a fall or by walking in front of a bus.

“If I were unlucky, it would have taken everything from me first, kept me alive for another 10 years, and then killed me.”

Having departed the Cobbles in 2003, Kevin established an addiction recovery charity to support others battling addictive and mental health disorders, following more than two decades on his own personal recovery journey from alcohol addiction.

The organisation provides a helpline, staffed by trained coaches all in active recovery, alongside free virtual recovery coaching, support, signposting, and workshops.

Kevin told the Manchester Evening News: “The Kennedy Street Foundation is my passion; all we want to do is help people who find themselves in the desperate situation I was in 22 years ago.”

He further stated: “Our national recovery helpline is receiving calls every day, and we really need to raise as much money as possible in order to be able to help each and every one start their own Road2Recovery.”

Kevin’s other talents away from acting

Since departing Coronation Street 23 years ago, Kevin wrote and produced a programme entitled Spanish Capers, which broadcast between 2005 and 2007.

The 64-year-old, from Manchester, took on a role in Ben Elton’s musical We Will Rock You, portraying a hippie named Pop. Further television credits include appearances in Blue Murder, Doctors (both in 2006), and Holby City (in 2017).

In 2019, Kevin made his return to the small screen, portraying Clyde in a single episode of Mrs Brown’s Boys. The former Coronation Street star also trod the boards between 2018 and 2019, taking on the role of Dennis Dupree in the hit musical Rock of Ages.

According to The Guardian, Kevin is also an accomplished musician who was once signed to Simon Cowell’s record label. He performed in America alongside globally renowned acts, including Johnny Cash and Willie Nelson.

“Along with [the Smiths bassist] Andy Rourke, we were in a band called Paris Valentinos. As soon as I heard Johnny play the guitar, I thought: this is special, what a privilege to be here for this”, he told the publication.

Kevin is equally at home on stage, having played His Royal Highness, King Curlington in Cinderella at a County Durham pantomime in 2024, before going on to appear in the Pretty Vacant UK tour, which charts the story of punk and the new wave generation.

He has also been cast in the forthcoming UK tour of The Picture of Dorian Gray – A New Musical, scheduled to run from October 2026 through to April 2027, in which he will take on the role of Mr. Issacs.

For more information, help, and advice about addiction and recovery, visit Kennedy Street here.

Coronation Street airs weekdays on ITV and ITVX

Some of our finest contemporary writers got their laurels Friday night at the 46th Los Angeles Times Book Prizes ceremony at USC’s Bovard Auditorium.

At the awards ceremony, which opens the annual L.A. Times Festival of Books weekend, Oakland-born writer Amy Tan and literary nonprofit We Need Diverse Books received achievement honors, and finalists in 13 other categories became prize winners.

The presenters and awardees who took the stage balanced a spirit of playfulness — Times senior editor Sophia Kercher called the weekend’s festival “my personal Coachella” and Times columnist LZ Granderson saluted his fellow “booktroverts” — and one of reverence as they celebrated writing as an instrument for advocacy, imagination and history-keeping.

As Bench Ansfield virtually accepted his award in the history category for “Born in Flames: The Business of Arson and the Remaking of the American City,” which exposes a pattern of landlords setting residential fires to collect insurance payouts, he said, “It’s a scary time to be a historian in the United States.”

“Our field, like so many other fields, is under attack,” Ansfield said. “To understand the crises in front of us, we have to understand our history.”

Among the crises highlighted was AI encroachment, the subject of science and technology category winner Karen Hao’s “Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI.” The AI expert and investigative journalist’s book is a critical investigation into the rise of OpenAI and its impact on society.

In Hao’s acceptance speech, read by presenter Jia-Rui Cook in her absence, the author said she “can’t help but be disturbed by how the themes of this book have grown more relevant by the day.”

“That said, I have never been more hopeful of our chance to advance a different future,” the author said, adding that L.A.’s history of resistance movements — including the recent Hollywood strikes — made it an apt place to accept her award.

“Gatherings like this are one of many radical acts of resistance against the imperial project that seeks to strip us of our meaning and our humanity,” Hao said. “Let us continue to resist defiantly together and let us remember lessons in history: When people rise, empires always fall.”

Tan echoed Hao’s sentiments as she accepted the Robert Kirsch Award, which celebrates literature with regional and thematic connections to the Western United States, for her acclaimed portfolio of writing exploring identity and cultural inheritance — often through the lens of the immigrant experience.

In her speech, “The Joy Luck Club” writer said that while she never particularly considered herself a “political writer,” her stance on that has changed as government actions have made her think critically about her own identities.

“My birthright and that of millions of others is now being argued before the Supreme Court, and no matter what the outcome is, it’s been a kick in the gut to know that those in the highest echelons of government and those who support them believe that we don’t belong.”

As an author, Tan said, “I imagine the lives of the people I write about,” and that act of compassion, for writers, inherently “reflects our politics and our beliefs. And so yes, I am a political writer.”

Later, Caroline Richmond, executive director of We Need Diverse Books, celebrated the work of her nonprofit — the recipient of this year’s Innovator’s Award — which has made it so her daughter “has never really had to look that far to find herself on the page.”

Still, she said ongoing book bans are threatening those strides toward a more diverse literary marketplace.

“The work is very much far from over,” Richmond said, “but I have to remind myself that the people banning books are never the good guys in history, and it’s up to us in this room and beyond — as readers, as book lovers — to fight back because diverse books, we really need them now more than ever.”

As the ceremony wore on, the room was as charged with celebration as it was with resistance.

When writer-editor and former child actor Adam Ross accepted the Christopher Isherwood Prize for “Playworld,” a semi-autobiographical novel about a teen growing up in 1980s New York, he gleamed with joy about his second novel being out in the world and finding readers.

“When it became clear to me that I was writing something that was going to be a lot bigger and take a lot longer than I planned, I promised myself I would use all of my ability to capture my experience of a particular era in an enduringly magical city, and to hopefully express it in such a way that any reader willing to embark on a journey with me, but upon finishing close the book and say, ‘Yes, I know exactly what that was like,’” Ross said in his acceptance speech.

“Winning this award makes me feel like I succeeded in that endeavor,” the author said.

Other winners included Ekow Eshun, who topped the biography category for “The Strangers: Five Extraordinary Black Men and the Worlds That Made Them,” which parses Black masculinity as embodied by various civil rights activists, philosophers and other visionaries, and Bryan Washington, who accepted the fiction award for “Palaver,” which details the tense reunion of a Jamaican-born mother and her queer son, who are navigating years of estrangement in Tokyo.

The 31st annual L.A. Times Festival of Books will host 500-plus authors and celebrities and 300-plus exhibitors across more than 200 events including panels, book signings and cooking demonstrations. Top-billed guests include musician-memoirist Lionel Richie, veteran actor and recent Golden Globe Carol Burnett Award honoree Sarah Jessica Parker, and the mastermind behind “Curb Your Enthusiasm,” Larry David.

The schedule for the Saturday-Sunday event can be found here.

Here’s the full list of finalists and winners for the Book Prizes.

Robert Kirsch Award

Amy Tan

Innovator’s Award

We Need Diverse Books

The Christopher Isherwood Prize for Autobiographical Prose

Adam Ross, “Playworld: A Novel”

The Art Seidenbaum Award for First Fiction

Andy Anderegg, “Plum”

Krystelle Bamford, “Idle Grounds: A Novel”

Addie E. Citchens, “Dominion: A Novel”

Justin Haynes, “Ibis: A Novel” | WINNER

Saou Ichikawa translated by Polly Barton, “Hunchback: A Novel”

Achievement in Audiobook Production, presented by Audible

Molly Jong-Fast (narrator), Matie Argiropoulos (producer); “How to Lose Your Mother”

Jason Mott, Ronald Peet, and JD Jackson (narrators), Diane McKiernan (producer); “People Like Us: A Novel”

James Aaron Oh (narrator), Linda Korn (producer); “The Emperor of Gladness: A Novel”

Imani Perry (narrator), Suzanne Mitchell (producer); “Black in Blues”

Maggi-Meg Reed, Jane Oppenheimer, Carly Robins, Jeff Ebner, David Pittu, Chris Andrew Ciulla, Mark Bramhall, Petrea Burchard, Robert Petkoff, Kimberly Farr, Cerris Morgan-Moyer, Peter Ganim, Jade Wheeler, Steve West, and Jim Seybert (narrators), Kelly Gildea (producer); “The Correspondent: A Novel” | WINNER

Biography

Joe Dunthorne, “Children of Radium: A Buried Inheritance”

Ekow Eshun, “The Strangers: Five Extraordinary Black Men and the Worlds That Made Them” | WINNER

Ruth Franklin, “The Many Lives of Anne Frank”

Beth Macy, “Paper Girl: A Memoir of Home and Family in a Fractured America”

Amanda Vaill, “Pride and Pleasure: The Schuyler Sisters in an Age of Revolution”

Current Interest

Jeanne Carstensen, “A Greek Tragedy: One Day, a Deadly Shipwreck, and the Human Cost of the Refugee Crisis”

Stefan Fatsis, “Unabridged: The Thrill of (and Threat to) the Modern Dictionary”

Brian Goldstone, “There Is No Place for Us: Working and Homeless in America” | WINNER

Gardiner Harris, “No More Tears: The Dark Secrets of Johnson & Johnson”

Jordan Thomas, “When It All Burns: Fighting Fire in a Transformed World”

Fiction

Tod Goldberg, “Only Way Out: A Novel”

Stephen Graham Jones, “The Buffalo Hunter Hunter”

Mia McKenzie, “These Heathens: A Novel”

Andrés Felipe Solano translated by Will Vanderhyden, “Gloria: A Novel”

Bryan Washington, “Palaver: A Novel” | WINNER

Graphic Novel/Comics

Eagle Valiant Brosi, “Black Cohosh”

Jaime Hernandez, “Life Drawing: A Love and Rockets Collection” | WINNER

Michael D. Kennedy, “Milk White Steed”

Lee Lai, “Cannon”

Carol Tyler, “The Ephemerata: Shaping the Exquisite Nature of Grief”

History

Char Adams, “Black-Owned: The Revolutionary Life of the Black Bookstore”

Bench Ansfield, “Born in Flames: The Business of Arson and the Remaking of the American City” | WINNER

Jennifer Clapp, “Titans of Industrial Agriculture: How a Few Giant Corporations Came to Dominate the Farm Sector and Why It Matters”

Eli Erlick, “Before Gender: Lost Stories from Trans History, 1850-1950”

Aaron G. Fountain Jr., “High School Students Unite!: Teen Activism, Education Reform, and FBI Surveillance in Postwar America”

Mystery/Thriller

Megan Abbott, “El Dorado Drive” | WINNER

Ace Atkins, “Everybody Wants to Rule the World: A Novel”

Lou Berney, “Crooks: A Novel About Crime and Family”

Michael Connelly, “The Proving Ground: A Lincoln Lawyer Novel”

S.A. Cosby, “King of Ashes: A Novel”

Poetry

Gabrielle Calvocoressi, “The New Economy”

Chet’la Sebree, “Blue Opening: Poems”

Richard Siken, “I Do Know Some Things”

Devon Walker-Figueroa, “Lazarus Species: Poems”

Allison Benis White, “A Magnificent Loneliness” | WINNER

Science Fiction, Fantasy & Speculative Fiction

Stephen Graham Jones, “The Buffalo Hunter Hunter”

Jordan Kurella, “The Death of Mountains”

Nnedi Okorafor, “Death of the Author: A Novel”

Adam Oyebanji, “Esperance”

Silvia Park, “Luminous: A Novel” | WINNER

Science & Technology

Mariah Blake, “They Poisoned the World: Life and Death in the Age of Forever Chemicals”

Peter Brannen, “The Story of CO2 Is the Story of Everything: How Carbon Dioxide Made Our World”

Karen Hao, “Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI” | WINNER

Laura Poppick, “Strata: Stories from Deep Time”

Jordan Thomas, “When It All Burns: Fighting Fire in a Transformed World”

Young Adult Literature

K. Ancrum, “The Corruption of Hollis Brown”

Idris Goodwin, “King of the Neuro Verse”

Jamie Jo Hoang, “My Mother, the Mermaid Chaser”

Trung Le Nguyen, “Angelica and the Bear Prince” | WINNER

Hannah V. Sawyerr, “Truth Is: A Novel in Verse”

KANYE West’s Poland concert has been cancelled amid his tour chaos – just weeks after public outrage as he was announced as the headliner for Wireless Festival in the UK.

Over the past few years the American rapper has been mired in controversy for making a string of antisemitic, racist and pro-Nazi comments.

After his concert appeared to be cancelled by the stadium, Kanye has so far remained silent on the matter.

“We would like to inform you that the Ye (Kanye West) concert planned for June 19, 2026, at the… Slaski stadium will not take place due to formal and legal reasons,” said stadium director Adam Strzyzewski in a statement posted on Facebook.

Authorities in Poland had already signalled they would seek to ban the planned June 19 concert.

The decision by the Slaski stadium in the western city of Chorzow, first reported by Wyborcza newspaper, comes just days after he  postponed a concert in Marseille, France, “until further notice.”

KAN YE NOT

MPs urge European nations to follow UK’s lead & ban Kanye West from entering

GUT FEELING

Kanye West ‘accused Kim Kardashian of flirting with Lewis Hamilton’ years ago

Kanye, also known as Ye, said on X: “After much thought and consideration, it is my sole decision to postpone my show in Marseille, France until further notice.”

At the time, French media reported that Interior Minister Laurent Nunez was looking to ban the June 11 gig.

A source, said to be close to Nunez, told the AFP news agency that the minister was “highly determined” to axe the event.

Just weeks ago, Wireless Festival was cancelled after Kanye was blocked from entering the UK following days of backlash.

The Home Office confirmed on April 7 that West’s application to travel to the UK had been denied amid an antisemitism row over his headline slot.

Officials said the decision to refuse permission was made on the grounds that his presence would not be conducive to the public good.

West was due to headline all three nights from July 10 to July 12 at Finsbury Park, North London – playing to 150,000 people in total.

But Wireless organiser Festival Republic confirmed the popular event had been cancelled altogether following the Government’s decision.

Festival Republic said in a statement: “The Home Office has withdrawn YE’s ETA, denying him entry into the United Kingdom.

“As with every Wireless Festival, multiple stakeholders were consulted in advance of booking YE and no concerns were highlighted at the time.

“Antisemitism in all its forms is abhorrent, and we recognise the real and personal impact these issues have had.

“As YE said today, he acknowledges that words alone are not enough, and in spite of this still hopes to be given the opportunity to begin a conversation with the Jewish community in the UK.”

Back in January Ye apologised for his behaviour, which he attributed to untreated bipolar disorder, and renounced past expressions of admiration for Adolf Hitler.

In a separate statement on X, the fashion designer added: “I know it takes time to understand the sincerity of my commitment to make amends.

“I take full responsibility for what’s mine but I don’t want to put my fans in the middle of it.

“My fans are everything to me. Looking forward to the next shows.”

Nearly two years after actor Alec Baldwin was cleared of criminal charges in the “Rust” movie shooting death, a long simmering civil negligence case is inching toward a trial this fall.

On Friday, a Los Angeles Superior Court judge denied a summary judgment motion requested by the film producers Rust Movie Productions LLC, as well as actor-producer Baldwin and his firm El Dorado Pictures to dismiss the case.

During a hearing, Superior Court Judge Maurice Leiter set an Oct. 12 trial date.

The negligence suit was brought more than four years ago by Serge Svetnoy, who served as the chief lighting technician on the problem-plagued western film. Svetnoy was close friends with cinematographer Halyna Hutchins and held her in his arms as she lay dying on the floor of the New Mexico movie set. Baldwin’s firearm had discharged, launching a .45 caliber bullet, which struck and killed her.

The Bonanza Creek Ranch in Santa Fe, N.M. in 2021.

(Jae C. Hong / Associated Press)

Svetnoy was the first crew member of the ill-fated western to bring a lawsuit against the producers, alleging they were negligent in Hutchins’ October 2021 death. He maintains he has suffered trauma in the years since. In addition to negligence, his lawsuit also accuses the producers of intentional infliction of emotional distress.

Prosecutors dropped criminal charges against Baldwin, who has long maintained he was not responsible for Hutchins’ death.

“We are pleased with the Court’s decision denying the motions for summary judgment filed by Rust Movie Productions and Mr. Baldwin,” lawyers Gary Dordick and John Upton, who represent Svetnoy, said in a statement following the hearing. “He looks forward to finally having his day in court on this long-pending matter.”

The judge denied the defendants’ request to dismiss the negligence, emotional distress and punitive damages claims. One count directed at Baldwin, alleging assault, was dropped.

Svetnoy has said the bullet whizzed past his head and “narrowly missed him,” according to the gaffer’s suit.

Attorneys representing Baldwin and the producers were not immediately available for comment.

Svetnoy and Hutchins had been friends for more than five years and worked together on nine film productions. Both were immigrants from Ukraine, and they spent holidays together with their families.

On Oct. 21, 2021, he was helping prepare for an afternoon of filming in a wooden church on Bonanza Creek Ranch. Hutchins was conversing with Baldwin to set up a camera angle that Hutchins wanted to depict: a close-up image of the barrel of Baldwin’s revolver.

The day had been chaotic because Hutchins’ union camera crew had walked off the set to protest the lack of nearby housing and previous alleged safety violations with the firearms on the set.

Instead of postponing filming to resolve the labor dispute, producers pushed forward, crew members alleged.

New Mexico prosecutors prevailed in a criminal case against the armorer, Hannah Gutierrez, in March 2024. She served more than a year in a state women’s prison for her involuntary manslaughter conviction before being released last year.

Baldwin faced a similar charge, but the case against him unraveled spectacularly.

On the second day of his July 2024 trial, his criminal defense attorneys — Luke Nikas and Alex Spiro — presented evidence that prosecutors and sheriff’s deputies withheld evidence that may have helped his defense . The judge was furious, setting Baldwin free.

Variety first reported on Friday’s court action.

Dylan Sprouse sprang to action early Friday morning when he encountered a trespasser at his Hollywood Hills home.

Sources familiar with the incident told The Times that “The Suite Life of Zack & Cody” star tackled a man on the lawn near his home after his wife, Victoria’s Secret model Barbara Palvin, spotted “the creepy guy.” Palvin made an emergency call to police around 12:30 a.m. and reported a possible burglary.

TMZ, citing unnamed sources, reported that Sprouse had a gun and held the trespasser down until police arrived.

Police told The Times that the suspect was taken in on outstanding warrants and that no injuries were reported. Additionally, the suspect did not make it inside the couple’s 1920s Spanish-style home, only onto the property.

TMZ obtained footage of the arrest, which showed a suspect, whose face was blurred out, being handcuffed outside a police vehicle. A skateboard was leaned against the fence of the Disney alum’s property, and a “Private Property, No Trespassing” sign was posted on the gate.

Representatives for Sprouse and Palvin have not responded to The Times’ request for comment.

The couple met at a party in 2017 and by the fall of 2018, Palvin was gushing to Vogue that she was “very much in love.”

“I feel like I found the perfect guy,” she said of Sprouse. “He’s very kind and gentle.”

The couple tied the knot in the summer of 2023. In 2024, Palvin walked in the Victoria’s Secret Fashion Show and during a backstage interview said that Sprouse always has something up his sleeve to surprise her.

Outside the show, Sprouse revealed on the pink carpet that he had signs made with the faces of the couple’s fur babies, a French bulldog named Piggy Cow and a cat named Klaus Von Sprouse, to hold up while Palvin strutted the catwalk.

A federal judge has blocked Nexstar Media Group’s $6.2-billion acquisition of its rival, upending the already consummated union of the nation’s two largest television station groups.

U.S. District Court Chief Judge Troy L. Nunley on Friday issued a preliminary injunction that forbids Nexstar, which owns KTLA-TV Channel 5 in Los Angeles, and its takeover-target, Tegna Inc., from combining operations amid a legal dispute with California Atty. Gen. Rob Bonta and seven other state attorneys general.

The order takes effect Tuesday.

“Nexstar must permit Tegna to continue operating as a separate and distinct, independently managed business unit from Nexstar,” Nunley wrote in his 52-page order. “And Nexstar must put measures in place to maintain Tegna as an ongoing, economically viable, and active competitor.”

The injunction is Nexstar’s latest setback in the controversial deal championed by President Trump.

Bonta and the others are opposed to the merger, arguing it violates a 112-year-old U.S. antitrust law by knocking out a major competitor. The deal would give Irving, Texas-based Nexstar control of 265 television stations across the country, up from 164. And, in dozens of markets, including San Diego and Sacramento, Nexstar would own multiple TV network affiliates.

That duplication has raised concerns about staff consolidations and widespread newsroom layoffs.

“This is a critical win in our case,” Bonta said in a statement. “This merger is illegal, plain and simple. The federal government may have thrown in the towel, but we’ll keep fighting for consumers, for workers, for affordability and for our local news.”

Nexstar, in a statement, said that it will appeal the ruling, but that it has taken steps to comply with the court order.

“For nearly thirty years, Nexstar has provided free over-the-air access to all its broadcast stations — local news, weather, and community-focused programming alongside major network programming,” Nexstar said. “This procompetitive transaction will make local stations stronger and support continued investment in local journalism and fact-based news.”

Bonta and other state attorneys general sued to block the merger March 18. The state officials, all Democrats, alleged the union would create “a broadcast behemoth” with the “power to raise prices for television consumers” and diminish “local news and sports,” their lawsuit stated.

El Segundo-based DirecTV separately sued. It alleged the merger would dramatically tilt the pay-TV playing field, forcing DirecTV to pay dramatically higher fees for the rights to carry Nexstar-Tegna station programming, including local news and NFL football. Those costs, DirecTV said, would be passed along to its 10 million customers.

Trump had been agitating for the deal, writing in a February social media post: “GET THAT DEAL DONE!”

On March 19, the day after the lawsuits, the Trump administration approved the deal. The U.S. Justice Department terminated its antitrust review and the Federal Communications Commission’s Media Bureau authorized the transfer of Tegna’s station licenses to Nexstar.

Within an hour, Nexstar announced that it had finalized the purchase of its McLean, Va.-based rival.

Tegna was dissolved and its stockholders were paid out — raising questions about the fate of Tegna’s stations.

“Nexstar must not influence the management of the held-separate TEGNA business unit,” Nunley wrote. “Tegna personnel must maintain control over Tegna’s decisionmaking, including … negotiations [with pay-TV partners], newsroom personnel, operations and programming, product and service offerings, product development, advertisement sales, and personnel.”

Nexstar has complained about the unusual nature of blocking a transaction after-the-fact. But the plaintiffs noted that Nexstar had been aware of the state attorneys general concerns since at least March 10 — more than a week before DirecTV and the state regulators sued.

Colorado, Connecticut, Illinois, New York, North Carolina, Oregon and Virginia have joined California in the lawsuit.

The merger was not approved by the full FCC commission, prompting two U.S. senators — Ted Cruz (R-Texas) and Maria Cantwell (D-Wash.) — to question the FCC’s handling of the matter.

“This decision raises serious concerns about the Commission’s use of delegated authority in matters involving significant legal, policy, and economic consequences,” the two lawmakers wrote in a March 30 letter to the FCC. “The transaction is unprecedented in scale, resulting in the largest local broadcast television group in U.S. history.”

Nexstar has built itself into a colossus through a series of acquisitions, including its $6.2-billion takeover of Tribune Broadcasting, the longtime owner of KTLA, in 2019 — during the first Trump term.

Opponents have argued that Nexstar’s proposed purchase of Tegna gives Nexstar stations in 44 states covering 80% of the U.S. population — exceeding a 39% ownership cap set by Congress.

DirecTV has argued that the combination of the nation’s two largest television station groups could harm its pay-TV business by raising prices for consumers and potentially increasing programming blackouts.

The judge late last month combined the two lawsuits.

During a two-hour hearing earlier this month, Nexstar attorneys argued against the injunction, saying it had obtained the necessary federal approvals to take control of the Tegna stations.

“Setting aside the unusual FCC clearance process here, the Court does not find Defendants’ arguments persuasive,” Nunley wrote.

Nexstar contends the deal would strengthen TV station economics, allowing stations to bolster their news gathering and expand the number of newscasts. But DirecTV countered that in markets where Nexstar owns two stations, it relies on just one newsroom to program both channels.

“We commend the Court’s decision, which reinforces the coalition of states’ and our shared belief that unchecked station consolidation will force consumers to pay more for less by reducing the quality and variety of local news coverage,” DirecTV said in a statement.

Nexstar attorney Alexander Okuliar said the plaintiffs failed to demonstrate that the merger posed an immediate threat to the public.

Nunley, who was appointed by former President Obama, wrote in his order that the plaintiffs demonstrated they had a path to prevail at a trial due to the merits of their arguments.

Nexstar had asked the judge to require the plaintiffs to post a $150-million bond to compensate it for damages it would suffer from any delays in closing the deal.

But the judge denied that request, writing that Nexstar did not offer a “financial analysis or documentary evidence to support a bond in this amount” or any evidence that it would incur financial losses should the injunction be overturned.

He was asked if now is a good time to open an ISA or not

Martin Lewis has offered some advice on how you could organise your savings. He explained the practical tip amid the current uncertainty surrounding the economic impact of the Iran conflict.

The major war has already triggered a surge in oil prices, with fears of long-term consequences for food production and global economic growth.

Mr Lewis was questioned on his BBC podcast about whether now is an opportune moment to open a stocks and shares ISA, given that markets are struggling. When share prices fall, it can present a prime opportunity to invest, as your funds could increase in value when the market bounces back. But if prices decline further, the worth of your holdings could also drop. In response, Mr Lewis outlined the general principle to bear in mind.

He said: “If you’re talking about investing for a long term money that you don’t need for five years and you’re going to do that in a nice spread of investments, like a global tracker fund or an S&P tracker or FTSE tracker, then you just have to accept that you will never know when the perfect time to put money in is.”

£1,000 savings tactic

Nevertheless, he did reveal one strategy you could use to reduce the risk posed by market volatility. Mr Lewis said: “Let’s just imagine you’re putting £10,000 in a stocks and shares ISA, and you’re putting it away for a long time.

“You could put £10,000 in now but you could arrange with the provider that it sits in its cash part. You can hold it in cash, within a stocks and shares ISA, for the moment.

“You could say I’ve got £10,000, over the next 10 months, I’d like you to buy £1,000 a month of that tracker fund that I’m putting my investment into. It’s called pound-cost averaging.

“Because you’re drip feeding the money in, that helps smooth out the short-term volatility of buying at the right moment. So if you’re worried about that volatility, you might want to adopt that tactic.”

Mr Lewis continued in saying that in reality nobody can predict the optimal time to invest. He said: “They are unknowable in the short term, but in a broad spread of investment over the long term, on the balance of probabilities, investing will outperform saving.

“So don’t let the volatility put you off, but you might want to spread the time that you’re putting the money in.”

Major changes to ISA allowances

Savers may also want to note that major changes to ISA allowances are on the horizon. Currently, you can deposit up to £20,000 each tax year, which can be divided as you wish between cash ISAs and stocks and shares ISAs.

From April 2027, you will only be permitted to save up to £12,000 as you choose. The remaining £8,000 will only be available for deposits into investment-based accounts.

Savers aged 65 and over will be exempt from the new regulations, retaining the existing £20,000 allowance. ISAs are entirely tax-free, with no tax liability on any interest earnings or investment gains within these accounts.