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
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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’.
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.
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.
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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.
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.
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Katie Price’s son Harvey has called her new husband Lee Andrews “daddy”Credit: Paul EdwardsLee shared a drawing that Harvey made for himCredit: Instagram/wesleeeandrews
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.
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?”
Katie and Lee tied the knot back in JanuaryCredit: wesleeeandrews/instagram
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!!!!”
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.
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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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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Love Island stars were out in force getting the VIP treatment during Coachella’s opening weekend last weekCredit: Shutterstock EditorialBut TikTok was awash with videos showing the less glamorous side of the festivalCredit: TikTokSome have described camping at the music fest as an ‘endurance test’Credit: TikTok
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.”
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.
Tiktokker Lottie Stars described her experience as “terrible”Punters cover their noses to escape the dusty windsCredit: TikTok
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.”
The likes of Kendall and Kylie Jenner pose in front of brands as they plug the festival on social mediaCredit: InstagramThe festival has become criticised in recent years as moving away from its rootsCredit: Getty
@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.”
Samie Elishi and Sophie Piper were both on the VIP list this yearCredit: InstagramThe crowds were packed in to watch acts like Justin Bieber and Sabrina CarpenterCredit: EPA
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.
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.
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.
‘Lee Cronin’s The Mummy’
In English and Arabic, with subtitles
Rated: R, for strong disturbing violent content, gore, language and brief drug use
Madonna joined Sabrina Carpenter on the Coachella stage in a surprise appearanceCredit: SuppliedThe hand-holding duo were a hit with the Californian crowdsCredit: YouTube/Coachella
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.
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 snapsof her festival stint – including a mini dress, knee-high boots and beret combo.
The pair dueted on hits including Vogue and Like A PrayerCredit: SuppliedThe crowds watched in awe as the superstars performed togetherCredit: YouTube/CoachellaIt marked 20 years after Madonna’s headline set at CoachellaCredit: YouTube/CoachellaSabrina shared pictures of her Coachella experience in a range of cute outfitsCredit: Instagram
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 Louis in the face during a vicious rowCredit: InstagramThe clash came as the former friends filmed a three-part road trip for NetflixCredit: Getty
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.
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.”
One Direction sold more than 70million records worldwide at the height of their fame.
Zayn Malik punched Louis in the face during a vicious rowCredit: Getty – ContributorPhoebe revealed her favourite One Direction member was NiallCredit: InstagramLouis and Zayn were spotted filming a “spontaneous adventure” road trip documentary for Netflix at a dive bar in TennesseeCredit: InstagramOne Direction sold more than 70million records worldwide at the height of their fameCredit: PANeither Louis nor Zayn have ever spoken about the documentary or why it endedCredit: Getty
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
Angie Quinn Screen Time Reporter
08:00, 18 Apr 2026
Corrie’s Bill Webster punches Curly Watts over Maureen
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.
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”
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.
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American singer Kanye West’s Poland concert has seemingly been cancelled by the stadium after backlash over his antisemitic, racist and pro-Nazi commentsCredit: AFPPrime Minister Sir Keir Starmer was ‘deeply concerned’ by Kanye headlining Wireless FestivalCredit: PAKanye West claimed on X it was his ‘sole decision’ to postpone his show in Marseille, France until further noticeCredit: Getty
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 onFacebook.
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.”
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.”
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 theUnited 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.”
Fashion designer Kanye apologised for the comments he made back in January, attributing them to undiagnosed bipolar disorderCredit: Getty
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.
“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.
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.
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.
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 shared some tips on his BBC podcast(Image: ITV)
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.
Christopher Meloni has a message for Elliot Stabler fans: “Thank you … for sticking with him and welcoming him back.”
The “Law & Order: Organized Crime” star took to Instagram on Thursday to convey his appreciation for his character’s long run in the franchise after it was revealed that the NBC show had been canceled after five seasons.
“I just saw that they announced … ‘Organized Crime’ won’t be coming back,” Meloni said in his video post. “So I wanted to take this moment to say thank you to the fans who not only helped give the character of Elliot Stabler life and longevity, but for sticking with him and welcoming him back.”
Meloni’s run as the seasoned detective began in “Law & Order: Special Victims Unit,” which debuted in 1999. Stabler investigated New York’s “especially heinous” sex-based crimes with partner Olivia Benson (Mariska Hargitay) and other detectives in his unit for the show’s first 12 seasons. (The character was written off the show in advance of the Season 13 premiere because Meloni and NBC could not come to an agreement on a new contract.)
Stabler returned to “SVU” in 2021 for a crossover event that helped launch “Organized Crime,” a “Law & Order” spinoff focused on NYPD officers who track down “vicious and violent members of the underworld.” While the character has occasionally appeared in “SVU” episodes since his return, the end of “Organized Crime” likely means Meloni is done playing Stabler full time, at least for now. “Law & Order: SVU,” meanwhile, has been renewed for a 28th season.
“I had a great time playing him,” Meloni said in his Instagram message. “It was a great ride. Thank you. You helped give me a career that I never dreamed of. Nearly 17 odd years.”
Finding a revolutionary artist during cocktail hour at the opening gala of Los Angeles County Museum of Art’s new David Geffen Galleries was like shooting fish in a barrel.
Gaze over the rim of your glass to notice Jeff Koons and Ed Ruscha talking closely beside the DJ booth. Mark Bradford strides by with a beneficent smile — towering over everyone, including AI art maker Refik Anadol. Todd Gray, whose 27-foot-long photo sculpture “Octavia’s Gaze” graces the hallway near the building’s south entrance, chats with Wim Wenders, who is making a documentary about architect Peter Zumthor’s controversial new $724 million concrete behemoth. Zumthor is there too — in bright red sneakers — talking to LACMA director and chief executive Michael Govan before Govan turns to take a selfie with immersive installation artist Do Ho Suh.
Jeff Koons, left, talks with Ed Ruscha at the opening gala for LACMA’s new David Geffen Galleries on Thursday.
(Jessica Gelt / Los Angeles Times)
Lauren Halsey walks by in her distinctive white shirt, long shorts and ball cap, beset on all sides by friends and admirers.
“It’s beautiful, it’s fantastic,” she said of Zumthor’s creation.
It’s an artist’s world on this breezy evening, as the sun sets golden over the looming gray concrete of the building, and the lights that gird the structure’s underbelly flicker on and twinkle like stars overhead. In this milieu, Hollywood A-listers like Will Ferrell and Sharon Stone, who occupy separate cliques nearby, pale in comparison to the mingling artistic luminaries.
Architect Peter Zumthor, left, and Michael Govan attend LACMA’s opening gala for the David Geffen Galleries. Govan said he hopes the building lasts 500 years.
(Gina Ferazzi / Los Angeles Times)
“It’s ready for us,” Bradford said of the building. “It’s ready for artists. I walked in and I was overwhelmed with a space that was made for us, and I can’t wait for everything I can do.”
“Snazzy. Does the job,” said Ruscha, looking bemused and speaking in short bursts of headline-style phrases like one of his famous paintings.
Gray said he was glad to see his art during “magic hour,” noting how the setting sun shone warm through the building’s glass windows — diffused by textile designer Reiko Sudo’s chromium spattered curtains — to imbue his photo installation with a distinctive warmth.
“I’ve never seen it at dusk,” Gray said with a smile. “It was a totally different experience to see it at that time of day. And [the light was] actually yellow, so the piece changed … and the concrete warmed up because of that warmer light. It was a lovely chromatic experience, which is wonderful because then you’re aware that you’re experiencing something in a very particular space and time.”
James Goldstein, the owner of architect John Lautner’s famed Sheats-Goldstein Residence, which he promised as a gift to LACMA in 2016, agreed with Gray that the gloaming light was lovely.
“If it were up to me the curtains wouldn’t be closed,” Goldstein said, noting that the curtains in his home — which is also made of concrete and glass — are never closed, and that the views from the Geffen Galleries are extraordinary and worth leaning into.
Koons said the building, and the moment in time that defines its unveiling, has the potential to bring the world together.
“It’s an amazing evening for all these people that love and believe in the value of art and humanity to be together and to celebrate architecture,” said Koons, noting that he looks forward to showing his art inside the new galleries. “LACMA is a place that’s here for future generations and Peter’s building is amazing.”
Will Ferrell and Viveca Paulin were among the major Hollywood stars at the gala.
(Gina Ferazzi / Los Angeles Times)
Chatter about the building could be heard in every cluster of guests. One group talked about how striking it was to see ancient Greek sculptures juxtaposed against the rush of traffic along Wilshire Boulevard; another discussed their hope for more landscaping, noting that the concrete ground and concrete building begged for some lush greenery.
Govan basked in the limelight nearby, shaking hands and doling out hugs and back pats. His vision for the building has been 20 years in the making, and he’s faced an enormous amount of pushback, but the structure is here and his enthusiasm for it has not waned.
“I’ve just always imagined people in the building — it’s for people,” Govan said. “And I want it to last 500 years, I want those little drill marks to accumulate, I want change. I want this to be something that generations will care for.”
Zumthor also seemed deeply pleased with the moment, saying, “I’ve always been happy,” and emphasized that working in L.A. taught him to embrace a certain frontier-like lack of refinement.
LACMA’s staff was elated, especially those who have been watching the project develop for decades and absorbing the large amounts of criticism that have accompanied its manifestation.
Stephanie Barron, LACMA’s senior curator and modern art department head, said, “This is the first night with our art world colleagues and donors, and it’s thrilling to see how they are responding, and how they are a little confused, at first, about where to go. Then they realize, that’s the point of this — and they are just going with the flow and they are smiling and happy and looking at the art. It’s a game changer.”
“I’ve been here nearly 20 years and seeing this going from concept to reality has been the greatest thing,” said Tiffany August, associate vice president of LACMA’s people and culture department, which oversees human resources. “So much soul and heart and effort went into this.”
Arun Mathai, budget officer and head of finance, has also been with the museum for 20 years and said it’s exciting to finally be on the other side of the project. “To see it happen in such a beautiful way is very gratifying. The notion of no hierarchy, of wandering around and seeing art from all over the world, from all time periods beautifully juxtaposed, it’s just so enlightening,” Mathai said.
Michael Govan, left, Peter Zumthor, Holly J. Mitchell and Mayor Karen Bass attend the opening gala.
(Gina Ferazzi / Los Angeles Times)
Later, during a four-course meal of broiled oysters, tuna tostadas, braised Wagyu short ribs and berry meringue, various LACMA supporters, including board co-chair Tony Ressler; life trustee and major donor Lynda Resnick; and L.A. County Supervisor Holly J. Mitchell, whose district houses LACMA, took to the stage in a tent set up west of the new building to sing the praises of the Geffen Galleries — and to note that the evening’s dinner raised a record-setting $11.5 million. (The Geffen Galleries’ ongoing fundraising campaign now stands at $869 million.)
“This is a great, great example of what can be achieved when government and philanthropy work hand in hand for the public good,” Ressler said before thanking Govan for “taking bold risks.” “Your legacy is now permanently etched in the stunning galleries that will open to the public very soon.”
Mitchell was full of praise for Govan and Zumthor.
“The Geffen Galleries didn’t come to fruition overnight. And frankly, nothing that changes the status quo ever does,” Mitchell said. “To Michael, Peter, David [Geffen] and our dear Elaine [Wynn], thank you for your patience, because visionaries like yourselves often have to wait for the rest of the world to catch up with you.”
Resnick got a big laugh when she described her first meeting with Govan and his wife 21 years ago.
“An exquisite couple walked into [vice chair of the board] Bobby Kotick’s house. There was Michael Govan, a true intellectual, Zen thinker, movie star handsome, and under consideration to run LACMA. By the end of the evening, I was sitting on his lap feeding him peeled grapes.”
She concluded on a more serious note, calling the Geffen Galleries a “masterpiece of public art.” “Only one person in the world could have done all this with the signature elegance and his provocative style,” she said of Govan. “Generations will cross that bridge and watch the cars stream below, and feel the power of being embraced by art above all the gorgeous chaos of our city.”
After a standing ovation, Govan introduced musicians Sean Watkins, Gabe Witcher and T Bone Burnett, who sang — quite fittingly — “The Times They Are A-Changin.’”
The actor is pregnant with her third child, the first with partner Tanguy Destable. The Oscar winner told Harper’s Bazaar that she and Destable, a French music producer who goes by the stage name Tepr, are “very excited.”
“I’m just very grateful,” she told the outlet. “I know it’s such a privilege and a miracle.”
Portman, 44, said that she grew up hearing about how difficult it can be to become pregnant. As the child of a fertility doctor, the actor said she has many loved ones who’ve struggled in their journey and she wants to be considerate and respectful. “I know how lucky it is,” she continued. “I’m very aware, and I’m very grateful. I have deep appreciation and gratitude.”
The “Black Swan” actor has two children from her marriage to ex-husband Benjamin Millepied — a son Aleph, 14, and daughter Amalia, 9 — and told Harper’s that knowing this is “probably the last time,” she is cherishing every moment.
The actor also said she’s been enjoying the spring weather in Paris, where she has lived on and off for years. One other perk of being pregnant in Paris? “In France, they consider full term to be 41 weeks rather than 40, so I guess I get an extra week to be pregnant this time around.”
Portman split from Millepied in 2024 after more than a decade of marriage. The two met on the set of Darren Aronofsky’s 2010 film “Black Swan.” Millepied — a former principal dancer with the New York City Ballet — served as a choreographer on the movie. In 2023, French outlet Voici claimed Millepied had an extramarital affair with a climate activist. Shortly after, Portman quietly filed for divorce in Paris, where the two lived.
Last year, she told Jimmy Fallon during an appearance on “The Tonight Show” that an unexpected encounter with Rihanna at Paris Fashion Week in 2024 helped get her through the split.
“I think every woman going through a divorce should get to have Rihanna say to her that she’s a bad b—,” she joked to Fallon. “It was exactly what I needed.”
Fallon played a clip of the actor’s exchange with the “Diamonds” hitmaker in which Rihanna hugs Portman and says, “You are one of the hottest b— in Hollywood forever.”
Portman replies, “Excuse me? I’m going to faint.”
Portman has been romantically linked to Destable since March 2025.
Bruno Mars tickets running for $2,000 and ones for SZA costing $600 caught California lawmakers’ attention. They’re advancing two bills targeting the resale market.
Earlier this year, tickets to see SZA perform at the Crypto Arena in Los Angeles were selling for $600 the day before they officially went on sale at $35 a piece.
In San Francisco, tickets to see Sam Smith at the newly renovated Castro Theater went on sale for $120, only to be quickly snatched up by scalpers and resold for upwards of $600.
Those are some of the stories that California lawmakers are citing as they advance two plans to change the ticketing landscape. One caps the extent to which resellers can mark up the original ticket price while the other prohibits resellers from selling tickets they don’t yet own.
Democratic Assemblymembers Issac Bryan of Culver City and Matt Haney of San Francisco are each carrying bills that they say would protect consumers from fraudulent and deceptive ticket sales.
Both measures are backed by the ticket market’s dominant seller, Beverly Hills-based Live Nation, which owns Ticketmaster. Its support has some worried that the bills will help the company crush its competitors and jack up prices.
A federal jury in New York this week found that the company illegally acted as a monopoly in a victory for, among others, California Attorney General Rob Bonta, who with colleagues in other states sued the company two years ago and kept going after federal prosecutors settled. Live Nation is now awaiting penalties.
Despite these headwinds, the ticket bills are sailing through the Legislature.
Supporters say the legislation has nothing to do with the antitrust case against Live Nation and helps consumers. Opponents disagree.
“The state Legislature should really be standing up for consumers instead of advancing bills that are there to help a monopoly that has been caught on record calling its fans stupid and has bragged about robbing them blind,” said Jose Barrera, national vice president for the far west region at the League of United Latin American Citizens, a civil rights advocacy group.
Ticketmaster’s competitors in the online resale market are lobbying against the measures, a sign that they view the proposals as a threat to their business.
Jack Sterne, StubHub’s head of policy communications, wrote to CalMatters, stating, “Passing laws that hand the Ticketmaster monopoly more power and don’t actually make tickets more affordable is the last thing California’s leaders should do.”
But Stephen Parker, executive director of the National Independent Venue Association, which is co-sponsoring the bills, argues that they will regulate the marketplace to better protect fans by limiting price gouging and encouraging the face value — or below face value — exchange of tickets.
“Ultimately, that is what these bills will do, in addition to making sure that the tickets are actually real,” he said. “That is a good thing for California consumers. It’s a good thing for artists and it’s a good thing for these small businesses and nonprofits that make up the independent stages across the state.”
A Live Nation spokesperson said in a statement to CalMatters, “The resale lobby constantly tries to change the subject by pointing fingers at Ticketmaster, even though it has less than 25% of the resale market. This has nothing to do with anyone’s monopoly, but rather is about protecting fans from scalpers and the resale sites that cater to them.”
The company has spent roughly $165,000 on lobbying efforts this legislative session, including to support Bryan’s bill.
‘Unlikely allies’
Bryan’s Assembly Bill 1349 would ban the sale of speculative tickets — or tickets that are not in the possession or ownership of the people who list them online. In an April hearing, Bryan said the bill protects consumers from predatory mark ups.
“This bill is so important that, after our introduction, it brought unlikely allies together,” Bryan said, according to the CalMatters Digital Democracy database. “In fact, this bill brought the Giants and the Dodgers together, brought the National Independent Venue Association and Live Nation together. It brought Kendrick Lamar and Kid Rock together. It brought Isaac Bryan and Donald Trump together.”
Several secondary ticket sellers are fighting the measure, including StubHub, SeatGeek and Vivid Seats. The three companies have spent roughly $1.1 million dollars on lobbying efforts this legislative session, which included opposition to Bryan’s bill.
People watch fireworks during Bad Bunny’s halftime show from a parking garage outside Super Bowl LX at Levi’s Stadium in Santa Clara on Feb. 8, 2026. Photo by Jungho Kim for CalMatters
Opponents including Robert Herrell, executive director for the Consumer Federation of California, argue that the bill strengthens Live Nation Ticketmaster’s grip on the ticketing and live entertainment industry. According to them, the measure would give Live Nation complete control over the ticket even after it has been purchased — meaning, for example, that consumers could lose the ability to sell it or give it away.
“There’s no consumer choice in the matter,” said Herrell. “They can keep people out of shows if they want to. There have been situations where, if you bought a ticket on the secondary market, you’ve been denied entry into a show.” Proponents say Herrell and other opponents are mistaken. They say they are not trying to prevent transferability but rather, they want to protect fans from speculative costs.
“We want those rooms full,” said Ron Gubitz, executive director of Music Artists Coalition, which is co-sponsoring both bills. “So you have to be able to transfer a ticket. We just want it to be in a way that’s safe, trustworthy and not creating this run on the market that exists now.”
Gubitz pointed to a recent Bruno Mars concert, where tickets were on StubHub for $400 to $2,000 before they were on sale through Ticketmaster.
“That’s crazy,” he said. “That’s a speculative ticket that Bryan’s bill is trying to stop. That shouldn’t happen. It’s not fair to anybody, except for the secondary (market). It seems great for them.”
Price caps in a free market
Haney’s Assembly Bill 1720, also known as the California Fans First Act, would put a 10% cap on resale event ticket markups, inclusive of the ticket fees. In other words, a reseller could not charge more than 10% higher than the original ticket price.
In an interview with CalMatters, Haney said artists, independent venues and downtowns are currently being “screwed over and exploited” by scalpers and brokers.
“We can’t allow the status quo to continue if we want to ensure Californians have access to affordable tickets to see their favorite artists or if we want independent venues or the broader landscape of musicians and artists to thrive in our state,” he said.
Haney rejected the idea that his bill would strengthen the Live Nation Ticketmaster monopoly, saying that the company is one of the biggest operators and profiteers of the secondary ticket market and would therefore be subject to the same restrictions as any other platform or broker.
“I don’t think it’s a free market to allow folks to come in and buy up all these tickets and then create scarcity and then you’re now required to buy your ticket at a much higher price from someone who had nothing to do with the event,” he said. “This is not something we would ever allow for airplane tickets or even dinner reservations.”
The bill has been criticized by opponents like Diana Moss, vice president and director of competition policy at Progressive Policy Institute, who said price caps notoriously distort the market, describing them as “anti-consumer, anti-competitive and anti-artist.”
“If you shut down the resale market with price caps then guess what? Ticket buyers have no place to go but right back to Ticketmaster,” said Moss. “If (Live Nation) succeed(s) in decimating the resale market, then they steer millions and millions of fans back to their own ticketing platform where they charge monopoly ticket fees and where fans are hostage to their glitchy online platform and all of their data, privacy and security concerns that we always hear about in the news.”
Those concerns didn’t stop the bill from passing out of the Assembly Committee on Arts, Entertainment, Sports and Tourism last week with a 6-1 vote. The bill also passed out of the Assembly Committee on Privacy & Consumer Protection on Thursday with a 9-4 vote.
Mihalovich is a California Local News fellow for CalMatters.
Coronation Street couple David and Shona Platt could be about to split up after some worrying scenes aired during Friday night’s episode of the world’s longest-running TV soap
20:45, 17 Apr 2026Updated 20:46, 17 Apr 2026
David and Shona could be about to split up on Coronation Street
Coronation Street’s David and Shona Platt could be about to split up after worrying scenes aired on Friday night. The couple have been together since 2016 and met after it emerged that Shona was the mother of Clayton Hibbs, who murdered David’s first wife Kylie in broad daylight.
David (Jack P Shepherd) and Shona (Julia Goulding) tied the knot in 2019 and whilst the marriage has so far survived numerous ups and downs but their troubles really seem to have started since the mysterious and calculating Jodie Ramsey (Olivia Frances Brown) turned up earlier this year.
Having arrived in the soap’s crossover with Emmerdale, Shona immediately recognised Jodie as her long-lost sister, whom she had never mentioned before, and after moving into number eight, Jodie has insisted on meddling in their lives whilst posing as some sort of saint who takes care of household duties. This suited David and Shona nicely they went back and forth to the hospital to see their daughter Harper, who is currently in the neonatal intensive care unit after being born prematurely.
Over the last few months, Jodie has made a habit out of stealing various items that belong to other Weatherfield residents, and, earlier this week, she stole a tablet from a little girl by claiming she was a police officer. On Friday’s instalment of the world’s longest-running TV soap, Jodie decided to hand the stolen tablet over to her niece Lily and pass it off as a gift, much to Shona’s dismay.
Shona told her stepdaughter that she was not to accept the tablet, and the schoolgirl stormed off upstairs in the huff. Later that day, the conflict was clearly not resolved as David reasoned: “Look, I don’t want the hassle, babe. Can we not just let her keep it?”
Shona shot back: “We agreed not before her birthday. And if we decided not to get her one, no-one should be giving her one.” A row broke out as David said: “Can we not just let her keep the thing and save the headache?”
Shona raged: “Oh, a headache, am I?” as she stormed off. All this time, Jodie had pretended to be flicking through a magazine as she sat on the sofa in the living room but was listening in and rolling her eyes every time her long-lost sister spoke.
When Jodie apologised to David, he said: “To be honest, I don’t… I don’t care any more. I mean, when you’ve been at the hospital all day, there’s bigger things to be worrying about than flipping tablets. It’s not your fault. It’s just Shona. She’s only ever happy if everyone else is miserable.”
Jodie said: “Hey, come on, that’s a bit harsh, isn’t it?” But, with a concerning reply, David said: “Harsh? Just you wait. You’ll see.” Fans have previously suggested that the storyline could follow a similar path Single White Female, the 1992 thriller that starred Jennifer Jason Leigh and Bridget Fonda and followed a woman whose roommate decides to steal her identity.
One said: “I am getting some single white female vibes, I won’t lie,” and another said: “Shona and Jodie. Remember the movie ‘Single White Female’? Jodie has copied Shonas hair.”
Another said: “I’m convinced Jodie is gonna try and steal Shona’s life, first her clothes, then her kids, then her fella!” There is definitely some mystery surrounding Jodie, as she was previously seen suffering from a panic attack after being harassed by an intrusive caller.
Coronation Streetairs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am on ITVX.
