show biz

In “The Little Sister,” a teenager tries to hide in plain sight. Although everyone comments on her beauty, 17-year-old Fatima prefers to tie her hair back in a ponytail, her bright eyes buried underneath a black ball cap, her body concealed in unflattering tracksuits. As played by first-timer Nadia Melliti, who won the actress award at last year’s Cannes Film Festival, Fatima is encased in a kind of armor, an outward manifestation of her hesitancy to share her sexual orientation with a world she knows will judge her. This graceful film chronicles the process by which Fatima gradually sheds that reserve.

Adapted from Fatima Daas’ 2020 novel “The Last One,” a work of autofiction detailing the French author’s own coming out, “The Little Sister” takes place over five seasons, observing Fatima as she completes grade school and begins attending university. An adept athlete with a tomboyish demeanor, Fatima disappears inside a friend group consisting of immature teen boys who treat her like one of the guys, including her in their raunchy sex talk. Fatima has a boyfriend, Adel (Ahmed Kheloufi), but the relationship feels vestigial, with him constantly complaining that she should dress more feminine. Just as upsetting to Adel: When he tells Fatima that he loves her, she doesn’t respond in kind.

This is the third feature from French actor and director Hafsia Herzi, who herself made an acting splash in 2007’s “The Secret of the Grain.” For “The Little Sister,” Herzi takes a cue from Daas’ book, mapping Fatima’s inner journey as a modest series of tentative steps forward and anxious steps back. Fatima has reason to be skittish. The youngest of three daughters in a loving French-Algerian Muslim family, she conceals any hint of her sexuality from her mother, father and sisters, anticipating their disapproval. Many queer coming-of-age movies position the character’s awakening as an act of defiance. For Fatima, a practicing Muslim who adores her parents, the stakes feel even higher. Melliti’s performance is one of silent suffering, illustrating Fatima’s deference to her family.

But as much as she smothers her desires, others can sense them. An altercation between her friends and a gay male classmate gets heated once the classmate accuses her of being closeted, which she vehemently (and violently) denies. Soon after, Fatima secretly joins a dating app, hoping to understand her queerness. Her first date, in which she uses a fake name, focuses on learning terminology such as scissoring, and she approaches each new encounter like a fact-finding mission. Melliti keeps the shy teenager’s reactions neutral, Fatima’s stoicism a strategy to prevent exposing her inexperience.

That’s when she meets Ji-Na (Park Ji-min, the free spirit of “Return to Seoul”), a physician’s assistant who practically glows in her presence, overwhelming Fatima’s cautious nature. Ji-Na and Fatima’s love story — its blossoming, its unraveling, its possible resuscitation — forms the heart of “The Little Sister,” which also received the Queer Palm at Cannes. Melliti and Park exude a frisky, lusty chemistry, but it’s a film as much about self-love, as Fatima seeks to become comfortable in her own skin. Ji-Na is open and confident while Fatima remains closed off, her shame about her sexuality deeply culturally ingrained. When our main character starts lowering her defenses, however, that’s when she’s hit by a jolt that sends her spiraling.

Herzi’s slender, unassuming drama contains few emotional crescendos or grand insights, although this is the rare French film to center on a Muslim lesbian as its protagonist. “The Little Sister” grows even more intriguing once the love affair runs aground, forcing Fatima to flounder in her heartache. Her odyssey will lead to threesomes and lonely nights, but also difficult questions regarding how her faith and family may leave her perpetually adrift.

“The Little Sister” leaves much unspoken, which is fitting for a protagonist who rarely expresses herself in clear terms. Even during a touching scene near the finale, as Fatima sits at the dinner table weeping, upset over the end of a relationship, she and her mother (Amina Ben Mohamed) engage in a nimble dance: Fatima doesn’t feel safe explaining precisely why she’s crying, while her supportive mom chooses her words carefully, perhaps knowing more about her daughter than she dares say aloud. But despite the character’s rocky path to sexual awakening, Herzi navigates toward a hopeful conclusion that doesn’t peddle phony uplift. Fatima still faces a community that won’t embrace her true self. But maybe, at last, she’s willing to be seen.

Glenn Close is not going to be ignored this time around, as the eight-time Oscar nominee will finally receive recognition from the academy this fall.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, working up a healthy World Cup fever even if it’s just an excuse to head to Lucky Baldwin’s for a pint or two and watch Cristiano Ronaldo one last time.

But let’s circle back to American football and my digital cover story with “Beef” stars Cailee Spaeny and Charles Melton, who watched a Super Bowl together, though they were cheering for different teams.

That Super Bowl in question was Super Bowl LIX, pitting the Philadelphia Eagles against the Kansas City Chiefs. Melton hosted a watch party, and since he considers Kansas home and played football for Kansas State University, you might think he’d be rooting for the Chiefs.

Nope.

“When I was living in Germany, I fell in love with Donovan McNabb,” Melton, an army brat, tells me, name-checking the longtime Eagles quarterback.

Spaeny, it turns out, was the only Chiefs fan at the party. To enter Melton’s home, she had to step on a doormat that was fitted with a red-and-white Chiefs jersey. (“It got real dirty,” Melton says with pride.)

Melton and Spaeny enjoy a relaxed and playful give-and-take, borne from the months they spent preparing to play Austin and Ashley, a Gen-Z couple working at a Montecito country club, dreaming and scheming toward upward mobility in “Beef.”

(Erik Carter / For The Times)

The most memorable episode they shared found the couple in an overcrowded, ninth-circle-of-hell emergency room with Ashley, uninsured, experiencing severe ovarian torsion. Her concerns are dismissed and she begs for someone to save her.

“Unfortunately, it’s an all-too-common experience,” Spaeny says. “I probably have a conversation once a month with female friends who go to the doctor’s office and are gaslit by the system, just being made to feel like what they’re experiencing isn’t really happening or they’re making it up. It’s scary.”

Still, being “Beef,” the episode has its share of mordant humor, like the scene where a nurse asks Ashley to rate her pain, zero being pain-free and 10 being excruciating.

“Oh, I thought it was like Letterboxd,” Ashley replies, referring to the movie review social platform. “Two-and-a-half stars out of five is average.”

“My whole life I’ve been a six or seven,” Melton says, noting his own personal pain scale. “I’ll have a cold and I’ll be like, ‘Six or seven.’”

“That sounds like you,” Spaeny says.

“I can get pretty dramatic,” Melton says. “It’s really like the end of the world when I’m sick.”

Spaeny deleted her Letterboxd account because she gets anxious about anything online containing reviews.

“It takes two buttons to click on a movie that I’ve been in and see what people say about me,” Spaeny says. “So I forgot my password and left it that way.”

Melton is an enthusiastic adopter and says he has twice shared his four favorite films, a feature where actors, usually on the red carpet, list a quartet of beloved movies. (Here’s one at the “May December” premiere where Melton enthuses over “The Matrix,” “In the Mood for Love,” “Brokeback Mountain” and “Persona.”)

“I saw them at another event and they were like, ‘Charles, so good to see you.’ And I was like, ‘Do you want my four favorite films?’ And they said, ‘No, you’ve already done it enough,’” Melton laughs. “What can I say? I love movies!”

On a Thursday in early June, under the hot bright lights of the famous Blue Note jazz club in Hollywood, the legendary trumpeter and composer Arturo Sandoval took center stage with a microphone in hand — and a hip wiggle for good measure. Rocking a silk shirt adorned with rhinestones, and backed by his incredibly nimble band, the Cuban-born virtuoso kicked off his four-night residency at the club with sizzling banter and panache.

“I had to watch what I said in Cuba,” he told the audience. “Now I live in the United States of America, man — I say whatever the hell I want. Do you like it? Well, if you don’t, I don’t care!”

Now 77, Sandoval feels he was liberated by the power of jazz. Released in May, his dynamic new album, “Sangú” — Spanglish for “sounds good!” — is bursting with the free-spirited energy he’s cultivated in the decades since he came to the United States from Cuba. Sandoval maintains a fiery pace throughout the album, commanding not only the trumpet, but the timbales and piano. (He even recorded his own scat singing for the appropriately-titled track, “Scat.”)

Once derided by the revolutionary government as “Yankee imperialism,” jazz music became a staple of Sandoval’s daily diet. As a young trumpet player in Cuba’s national band, he sought refuge in the sounds of Charlie Parker and Dizzy Gillespie by tuning into Voice of America: a radio program covertly broadcast from the States. Sandoval eventually served three-and-a-half months in jail in the 1970s when he was caught listening to the program — but with famed pianist and director Chucho Valdés, Sandoval would pioneer a distinctly Afro-Cuban jazz fusion with the Orquesta Cubana de Música Moderna, which was renamed Irakere and won a Grammy for best Latin recording in 1980.

It was in 1990, while touring Europe with his hero Gillespie, that Sandoval finally defected from Cuba with his wife and son — and found the refuge he’d been seeking in the U.S.

“Jazz is synonymous with freedom,” he said. “And I’ve always said the most important word in any dictionary around the world is the word ‘freedom.’”

Inside his Tuscan-style home in the Valley, Sandoval’s shelves are lined with the myriad of awards he’s collected in the time since he arrived in the States: an Emmy award for scoring the 2000 movie based on his own life, “For Love or Country,” which starred Cuban American actor Andy García; 10 Grammy statuettes and the Presidential Medal of Freedom, which was presented to him by President Obama in 2013.

Just last month, Sandoval was also awarded knighthood by the King of Spain. “Does that make me Don Arturo Sandoval?” he audibly asked the ChatGPT application on his phone; indeed, it does. (“My wife gets a little jealous of ChatGPT,” he added with a laugh.)

Come July 4, Sandoval will perform at the America250 concert in Washington D.C., which is a bipartisan celebration of the United States’ 250th birthday. Co-chairs of the event include former President George W. Bush, former First Lady Laura Bush, former President Obama and former First Lady Michelle Obama. Seated next to his Bösendorfer grand piano, Sandoval spoke with The Times while on break from his world tour to discuss the new album, his collaborations with Karol G and Ariana Grande, as well as his weakness for a good cigar.

This interview was edited and condensed for clarity.

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What keeps you playing the trumpet after all these years?
I have no choice. The piano is not that complicated, but the trumpet is a pain in the butt. The trumpet is merciless. You have to practice every single day, otherwise it sends you a bill.

How do you smoke cigars and stay healthy enough to play the trumpet?
I’ve been a big time cigar smoker since I was 14 years old. I never miss a day. I had a good one already. Every year they put me in the MRI to check my lungs. And the doctor always says, “Man, you have lungs like a person who never smoked.” A cigar is completely different from cigarettes. [With] a cigar you don’t inhale to the bottom of the lung, you know, it’s from here [taps his throat]. That’s the art.

You’ve been knighted by the king of Spain! How does that feel?
Great! We’re having 30 people over tonight. My wife is cooking for everyone. The consul [from Spain] called me three or four days ago [and] said, “Arturo, I got a surprise for you. I just got a package from the king at my house, ready to give it to you.” And I said, “What kind of joke is that?” My four grandparents came from Spain to Cuba — from my mother’s side, they were from Tenerife, Isla Canaria. From my dad’s side, they were Gallegos from Galicia. Even if I weren’t related to my family in Spain, whatever — I love Spain!

Given how restricted music and expression were in Cuba, how did you get into the international jazz community?
We put together a big band called Orquesta Cubana de Música Moderna [later called Irakere]. I met a journalist who played the saxophone — he said, “Man, you ever hear any jazz music?” He played for me a compilation or recordings of Dizzy Gillespie and Charlie Parker. That was in ’67 or ’68. Ten years later, I got a phone call from the guy — there was a jazz cruise going around the Caribbean and they [were in Havana] for 48 hours. I told him, “Pretend we never had this conversation!” But I went to the harbor. When the boat arrived, I saw Maestro Gillespie coming down the stairs. I didn’t know how to say one word in English. But God has always been good to me.

A guy behind him started talking to me in perfect Spanish. He was a percussionist playing with the great Stan Getz … a bunch of good musicians there. Dizzy started asking me questions through him. They said, “You have a car?” I had a Primo 1951, but it was falling apart. He said, “Ok, show me Havana.” He stayed for a jam session that night with Irakere. Gillespie went back to New York and told everybody about those musicians he heard in Cuba. Then one day a guy came to Irakere’s rehearsal and introduced himself with a translator — he was the president of CBS Records. A few months later, he put us on the plane [to New York] and drove us in a little bus straight to [perform at] Carnegie Hall. CBS made a recording of that, [which gave us] our first Grammy.

Many years later, in 2013, you were awarded the Presidential Medal of Freedom. What’s something special you remember about that night?
My granddaughter Lola was there, she was 6. It’s customary to take a photo with the president and the first lady. And we did, the whole family. When we got together for the photo, Lola started pulling at Obama’s jacket. He looked her and said, “May I help you?” She said, “Mr. President, I missed school today. I need a note from you.”

I said, “Oh Lord.” But Obama smiled and said, “Of course.” Then he got a paper with the White House [logo] on top and wrote, “Please excuse Lola from the school today … [Signed,] Barack Obama.”

Legendary jazz trumpeter Arturo Sandoval, shown performing at Dorothy Chandler Pavillion in Los Angeles in 2016.

(Courtesy of Timothy Norris)

Your new album is so cinematic. What’s the story behind it?
One day my son and his wife, who’s my manager, came over and said, “Papa, you’re getting old. You have to change your repertoire.” I said to my son, “I’ve been feeding you for 50 years and then you come and tell me what to do? Gimme a break!” But to be honest, when the pandemic happened, I was locked [inside] here. I used to travel a lot, and I was so frustrated and sad. So for two-and-a-half years, I started writing two or three new tunes a day and recorded a few hundred on my own. They picked 100 out of those; I said, “[Now] pick 12.”

When I got with the band, when somebody told me what to play — a little faster, a little slower — I said, “What the heck, man?” But I did it. And they were right. I’m so happy, blessed and grateful because they are amazing musicians. Nobody’s weird. No drugs, no alcohol, strictly into the music.

You joined Karol G’s band at Coachella this year — how did that happen?
As an old man, it’s not every day you have the opportunity to play Coachella. She called me last year to play on a tune in her latest album, “Ivonny Bonita.” So when they invited her to Coachella, she said, “Arturo, we’d like to play with you there.” She’s got great charisma and knows how to put a show together. To play for [more than] 150,000 people each night? That’s not my daily gig. I was nervous, but grateful for the opportunity. And when I checked my followers on Instagram, I got like 5,000 people in a few days — that never happens to me!

Let’s talk about Instagram!
Oh that’s a funny story. [In 2018] I did an album of duets with Stevie Wonder, Pharrell Williams, Ariana Grande … big time people. When Pharrell wrote a song for our duet, we were in the studio, cutting the track. He said, “Arturo, I’m producing for Ariana Grande in a studio across the hall. You would like me to call her?” I said, “Of course, man.” They sang together, Pharrell and Ariana. And by the end, I got my phone and said, “Ariana, can we take a photo with Pharrell?” She took my phone out of my hand to take [a selfie] and said to me, “Put it on Instagram.” I didn’t know what that was. She said, “You don’t know what Instagram is?” Sorry, I’m old! But I put it on Instagram, thanks to Ariana Grande. She’s so talented, man.

How do you stay dedicated to music after all this time?
People talk a lot about the word “talent.” What’s that? A lot of people supposedly have big talent, but they don’t have the passion, the discipline, the commitment. See those roses in my yard? If somebody gave you a seed, you put it in a vase with fresh dirt. Add some vitamins and water, and if you’re lucky, you’re gonna have a rose. But if they gave somebody the exact same seed and they left it on a table somewhere, that rose is gonna die! I’m 77 years old and I still practice every day. Nothing goes to my head. All those awards would mean nothing if I didn’t take care of what I had.

NEWLYWEDS Dua Lipa and Callum Turner were spotted kissing in the sea as he squeezed her bum while on their honeymoon in Italy.

The pop star, 30, and her actor husband Callum, 36, have been enjoying married life at the luxury San Domenico Palace hotel in Taormina near Catania.

The couple arrived at the hotel on Monday after they drove from Palermo where they had a huge wedding bash that was attended by several A-listers.

In new photos, the pair looked every inch the loved-up couple, as they soaked up the sunshine in Sicily.

They were pictured in the sea on a float with their hands all over each other.

In one snap, Dua was seen on top her new husband as they enjoyed a kiss, while he couldn’t resist but give her bum a squeeze.

TURNER AROUND

Dua Lipa & Callum Turner make huge life decision days after getting married

SWEET STAY

Inside Dua Lipa and Callum Turner’s £4k-a-NIGHT honeymoon at White Lotus hotel

Dua showed off her toned figure in a silver thong bikini and matching top.

They were also seen with their eyes firmly locked on each other as they gazed into each other’s eyes, with Dua placing her hands on his face.

The duo looked smitten as Callum wrapped his arms around Dua’s waist.

The One Kiss hitmaker animatedly pulled an excitable expression with her hands up in the air.

Dua was then seen relaxing on the inflatable float, while Callum held onto the side.

She showed off her sunkissed glow in the two-piece swimwear and wore a black and white bandana on her head.

The couple are staying at a lavish £4k-a-night Italian hotel.

Earlier this week, they were seen walking through the town of Taormina hand-in-hand as they explored.

The hotel where the pair are residing for their honeymoon might be recognisable to some, this is because it was made famous in the HBO series The White Lotus.

Known for its stunning clifftop setting and jaw dropping view of the volcano Mount Etna, the resort is more than fit for the A-listers.

The hotel is The Four Seasons Hotel San Domenico Palace, and it was the main location for the second season of the hit HBO series.

The pair tied the knot last weekend prior with a string of famous faces in attendance.

Elton John, 79, who flew in by private jet for the ceremony, and Dua are close friends after they collaborated on the track Cold Heart in 2021.

Italian fashion designer Donatella Versace, 71, was also at the wedding, held in the grounds of the 18th-century Villa Valguarnera in Bagheria, and is believed to have designed Dua’s dress.

Other A-list guests at their Sicily bash included Brit actor Joe Alwyn, American actress Grace Gummer and her husband DJ Mark Ronson, and pop star Charli XCX and her husband George Daniel, the drummer with The 1975.

Some guests were understood to have signed non-disclosure agreements to protect the privacy of the star-studded three-day celebrations, which kicked off on Friday.

The villa where the lavish wedding bash happened, which also featured in HBO drama The White Lotus 2, is widely considered one of the most historically and culturally significant villas in Sicily.

Amid the vow renewal, following their London ceremony, music legend Elton John serenaded the couple with a rendition of his smash hit ‘Your Song’ in an incredibly emotional and touching moment.

The ceremony kicked off at 5pm and lasted for around an hour with guests arriving from 3:30pm in a whopping 60 minivans.

The bride and groom turned up in a luxury Mercedes Maybach Class V at 3pm prompt to greet their guests ahead of the nuptials.

There’s a good reason why David Sedaris is the most beloved humorist in America. He has an unerring ability to tap into the absurdity and petty annoyances of American culture more cogently than any other writer of his generation. He is also funny as hell.

Sedaris’ latest collection, “The Land and Its People,” finds the author grappling with the seductions and consolations of technology, creeping mortality, unwanted sexual advances and feral dogs, for starters. I recently chatted with Sedaris about books, nannies and iPhones.

✍️ Author Chat

Your first book was a collection of short stories. Was it always the intent to move into writing essays, or did you have designs on being a novelist?

It never occurred to me that I would write essays about my life. I started off writing fiction, and then I started doing these readings in Chicago. Then I was to read at this variety show at this place called Park West. I was limited to about five minutes, and so I just plucked something from my diary. And it worked. I would walk onstage wearing a tie with a stack of diaries in my hand. Then I started doing these radio shows, and I thought I could read my fiction, but it had to be nonfiction. So a lot of the earliest pieces that I ever read were just things plucked from my diary.

What actually happened was that after this piece I wrote called “The Santaland Diaries” had been on the radio, I had this other book that I had already written, and I was just kind of waiting for someone to call and ask if they could publish it. But it couldn’t be published unless “Santaland” was included.

That book was “Barrel Fever” in 1994 which was a big hit. Now you were that rare creature: a bestselling essayist.

With essays, there’s a kind of shorthand to it. If you’re writing fiction, you have to world-build with every story, whereas with an essay I can just get up on stage and say “my sister and I went shipping” and people know who my sister is, and I can just get right into it. My fiction is always way, way over the top. I can’t write any story where people are reasonable.

What makes you unique is that you are onstage in front of an audience more often than 99% of authors. You can workshop material to see if it lands, much like a comic.

Yes, and I don’t ever want to waste an opportunity to do that. The frustrating thing about being on a book tour is that I can no longer make any changes to the book. So I’ve been bringing out some little, short things I’ve been working on to get it on its feet.

Much of your writing is observational. Do you find, given your public profile, that it becomes harder to do that?

It depends on where I am. If I’m hanging out in places where people don’t read, or in another country, then it doesn’t make any difference. The bigger problem is that when you’re spying on the world now, the world is just looking at their phones.

“The Land and Its People” is the new collection of essays by David Sedaris.

(Little, Brown and Company)

I know you aren’t big on the phone, or at least taking pictures with your phone. In one of your essays in the new book, you are on a Kenyan safari with your partner Hugh and you adamantly refuse to snap a single photo.

If you’re at a book signing, you meet someone and then stand up and someone takes a picture with their phone. I’d rather talk to that person, you know? The picture thing, it just doesn’t make any sense to me. It doesn’t mean anything. I was invited to the Academy Awards because I wrote something about a movie, which was crazy. But it never for one moment occurred to me to go up to anybody to take a selfie. All that means is that I bothered this person. By the way, I have never once asked Hugh to send me his safari pictures.

What books make you laugh out loud?

I’m always happy to find a funny book, but they are hard to find. Did you read “Rejection” by Tony Tulathimutte?

It’s on my nightstand.

Oh my God, I laughed out loud so many times at that book. And he’s not a humorist. I’m not even sure if he thinks the book is funny. There’s a short story in there, about a guy who’s just a complete a— and his girlfriend moves in with him and he makes her put all of her stuff in the oven.

I like things that are funny that aren’t supposed to be funny. Somebody said to me a few weeks ago, “How can we laugh with the world in such terrible shape?” I said, it’s easy. Just get rid of any sense of empathy or compassion! If you’re writing satire, you have to go big. You can’t tone it down. Then it’s not satire anymore, it’s just cereal milk.

You do write in the new book about this kind of language policing that is prevalent now.

I hate it. I mean, the New Yorker is pretty good to me. I can’t complain. But I turned something in to them, and they told me I couldn’t use the word “nanny” in the piece. I mean, a nanny is a real profession, like a pharmacist. I told them I wouldn’t cut it. It just makes me think about young people who are starting out, who can’t say no because they need the money.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

(Illustration by Jim Cooke / Los Angeles Times; Photo via Getty Images)

Leigh Haber is blown away by Anne Patchett’s 10th novel, “Whistler.” “This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love,” Haber writes.

Songwriter and Sheryl Crow collaborator David Baerwald has written a novel called “The Fire Agent,” about his grandfather Ernest, a musician and a prisoner of war in a Japanese internment camp during World War I. “One of my characters tells Ernst that he has ‘yuyo,’ which might best be described as grace,” Baerwald tells Bethanne Patrick. “Its Japanese meaning is closer to the state of a river rock that has been washed over and tumbled thousands of times, so that it’s both distinct, and a meaningful part of its environment.”

Rasheed Newson, a showrunner for “The Chi” and “Bel-Air,” has written “There’s Only One Sin in Hollywood,” a novel about an often-neglected chapter of Hollywood’s Golden Age. “I wanted to do a deep dive into Black queer history during the Golden Age of cinema,” Newson tells Meredith Maran. “The first thing that came to me was Xavier’s character. I decided to make him the 10-years-younger, queer rival of Sidney Poitier, to highlight the acceptable versus unacceptable — meaning, straight versus gay — 1950s Black movie star.”

Finally, Adam Messinger, a staffer at West Hollywood’s Book Soup, attempts to answer the question: Why are books shrinking? One possible culprit may be social media. “Holding the book up to take a photo of it is easier,” writer and social media influencer Caroline Mason tells Messinger. “Although I do sometimes still drop it.”

📖 Bookstore Faves

Lost Books in Montrose looks and feels unlike any other bookstore in L.A. — a verdant terrarium filled with new and used books and vinyl. Created by Last Bookstore co-owners Jenna and Josh Spencer, Lost Books also sells plants. Moss has colonized the ceiling, and tall trees keep sentry over the store’s diverse and eclectic inventory. I asked Josh Spencer about how Lost came about.

What was the thinking behind opening Lost?

It was spontaneous. My wife and I were eating dinner in the very charming neighborhood of Montrose, and saw a very cool vacant storefront. It also happened to be on Honolulu Avenue, and with both of us being from Hawaii, we took it as a sign. We did not want to franchise the Last Bookstore at the time, and wanted the new store to have its own name and unique vibe.

You also sell plants. Where did that idea come from?

My wife grew up in a rain forest on Maui. She loves plants, and we thought that a pairing of nature with literature was exciting and not done before.

Who are your customers?

Mostly locals in Montrose, La Cañada, La Crescenta, Glendale. But we get a fair number of tourists and also people from other parts of L.A. People who love beauty, nature and books. And vinyl!

Are you seeing that big vinyl resurgence we’ve been hearing about?

Absolutely! Our vinyl does very well for us.

What genres or types of books do well for you there?

Classics, kids books, mysteries, graphic novels, art, self-help, memoirs, cookbooks and gardening of course!

Lost Books is located at 2233 Honolulu Ave., Montrose.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

Now in its 40th iteration, Grand Performances will celebrate this milestone with dazzling performances all summer long at the California Plaza in downtown L.A.

The free concert series kicks off with a performance by the Latin hip-hop funk band Ozomatli on June 13. Tropicalia group Healing Gems and the Afro-Latin fusion band Jungle Fire will also make special appearances, all while DJ Liza Richardson keeps the groove going.

“For 40 years, Grand Performances has been a gathering place where Los Angeles comes alive through music, culture, and shared experience,” said Rafael González, president and CEO of Grand Performances, in a press release. “This year, we honor that legacy by continuing to open our stage, free and for everyone, so that every Angeleno can find themselves in the experience and feel part of something larger.”

On June 27, the Chicano troupe Culture Clash will return to the Grand Performances stage with comedic sketches colored by political and social satire. The trio — which includes Richard Montoya, Ric Salinas and Herbert Sigüenza — formed in 1984 in the San Francisco Mission District. Through its avant-garde live skits, the group has weighed in on topics like race, immigration and politics, including the 2016 election race between Hillary Clinton and Donald Trump.

Also joining the comedy show are retro cumbia-quebradita musician É Arenas (bassist of Chicano Batman) and the cumbia-fusion, luchador-masked cumbia group La Nueva Ola de Cumbia, as well as DJ Dali. (Editor’s note: De Los is co-presenting the Grand Performances on June 27.)

This summer will also pay tribute to a host of musical legends.

There will be an intergenerational dance party on July 18 with DJ Spinna on the booth, in honor of 76-year-old R&B-pop artist Stevie Wonder — who performed a memorable summer concert in 2013 alongside Ozomatli and La Santa Cecilia.

On Aug. 1, a 12-piece jazz ensemble will gather in tribute to the late Roy Ayers, the pioneering jazz-funk vibraphonist and godfather of neo soul.

Chicano trailblazer Ritchie Valens, best known for classic rock tracks “La Bamba,” “Donna” — will also get his due on Aug. 22, with a stacked program that features live music, narration and archival visuals honoring the late Pacoima legend. There will be performances by Nick Waterhouse, Shannon Shaw (of Shannon & the Clams), Joey Quiñones (Thee Sinseers), Bryan Ponce (The Altons), Denise Carlos & Hector Flores (Las Cafeteras), Angie Monroy (The McCharmlys), Irene Diaz and Jose Varela (Cutty Flam).

The season will wrap up on Aug. 29 with Mexico City cumbia punks Son Rompe Pera, joined by the all-femme percussion ensemble Bloco Obini and violinist Quetzal Guerrero, also known as QVLN (Q-Violin).

Grand Performances has hosted free outdoor performances annually since 1987. The organization’s focus is on giving a platform to both global and local performers, including previous headliners iLe, Adrian Quesada and Ana Tijoux. The full 2026 lineup can be found here.

EMILY Atack wowed as she stripped to a white bikini and emerged from a pool during her Hen Do.

The Rivals actress is celebrating with her mates in Spain ahead of her wedding to Alistair Garner – and pulled out all the stops with her bridal-inspired swimwear.

Emily, 36, opted for a halterneck with a scallop-trim edge and matching knickers.

The two-piece flashed her toned figure as she fooled around with her pals in the pool, with Instagram images showing her perching on a pals shoulder before she toppled into the pool.

Another video saw her emerging from the waters while the mum of one showed her cheeky side as she flashed her bum in a snap taken from behind.

She later captured an image of drinks perched poolside as she shared snippets of her special getaway.

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The Inbetweeners star then switched to a LBD with a plunging neckline as the party headed out for the night.

Emily recently revealed that the paid had set a wedding date for September and said she’s very much enjoyed the preparations.

Speaking to Luxury London Magazine, she said: “I think I’ve nailed it. We’re getting married in September. I’ve very much enjoyed the planning process.”

She added: “Choosing napkins and stuff. I’m like, ”My God, my life is here!”

She has also told how it will be a child-free ceremony.

It was thought that the Rivals star was considering getting married in Spain, after looking at wedding venues over there.

Last July, we reported how Alistair popped the question to the screen star.

Emily delighted fans after posting a loved-up selfie with her man to Instagram, which saw her flash the gorgeous sparkler.

In her caption, she wrote: “It’s Friday, I’m in love,” followed by three ring emojis.

She surpised fans by confirming they were expecting their first child together with a baby bump picture.

The bitter legal battle between Blake Lively and Justin Baldoni over allegations of misconduct and retaliation tied to the making of “It Ends With Us” moved closer to a conclusion Friday after a federal judge ordered Baldoni and his production company to pay Lively’s attorneys fees related to his unsuccessful defamation lawsuit against her, while rejecting her bid for additional damages.

In a 47-page order, U.S. District Judge Lewis Liman found that Lively was entitled to recover legal fees under a California law intended to protect people who report sexual misconduct from retaliatory defamation claims, ruling that Baldoni’s side had failed to show she acted with malice when making her allegations.

But Liman denied Lively’s request for treble and punitive damages, concluding that the procedural mechanism her lawyers used permitted recovery of attorneys fees and costs but not broader financial penalties.

Lively’s attorneys, Esra Hudson and Michael Gottlieb, called Friday’s ruling a victory for their client and emphasized that the judge found “there was no evidence she acted with malice.”

“The Court is awarding Ms. Lively attorneys’ fees and costs and has explained that a prevailing defendant under Section 47.1 may seek damages using different procedural mechanisms,” the attorneys said in a statement. “The parties’ settlement agreement expressly preserves Ms. Lively’s rights to obtain those damages.”

While the judge rejected Lively’s request for additional damages in this particular motion, her legal team said she could still seek them through other legal avenues permitted under the statute.

Bryan Freedman, Baldoni’s attorney, sharply disputed Lively’s characterization of the ruling, arguing that the court’s prior decisions had substantially undercut many of her original claims.

“There was no sexual harassment. There was no retaliation. There was no smear campaign,” Freedman said in a statement. “The court recognized it, the record reflects it, and we have maintained it from the very beginning.”

The amount Baldoni and Wayfarer Studios ultimately may have to pay has not yet been determined. Lively’s lawyers must still submit billing records and fee calculations for court approval.

The ruling follows last month’s settlement between Lively and Baldoni, which came just before what had been expected to be a closely watched federal trial in Manhattan. Under that settlement, neither side received financial compensation. But the agreement preserved Lively’s ability to seek attorneys fees and damages under California Civil Code Section 47.1, a relatively new statute designed to shield sexual harassment and assault accusers from retaliatory defamation claims.

Lively sued Baldoni, Wayfarer Studios, Wayfarer CEO Jamey Heath and others in December 2024, alleging Baldoni and his associates orchestrated a coordinated effort to damage her reputation after she raised concerns about misconduct during production of the film, which Baldoni directed and co-starred in. Baldoni denied wrongdoing.

Baldoni and Wayfarer later filed a $400 million defamation suit against Lively, her publicist Leslie Sloane and her husband, Ryan Reynolds, that was dismissed last year. Friday’s ruling dealt specifically with whether Lively could recover attorneys’ fees and damages tied to that dismissed suit under California Civil Code Section 47.1.

The latest ruling comes after Liman earlier this year dismissed 10 of the 13 claims in Lively’s lawsuit, including sexual harassment and defamation claims, while allowing retaliation-related claims to proceed.

In Friday’s ruling, Liman wrote that Baldoni’s team had produced no evidence demonstrating Lively acted maliciously when making her allegations.

“Allegations are insufficient on their own to demonstrate that statements were in fact made with malice,” the judge wrote. “That determination requires some evidence.”

Friday’s ruling offered each side new grounds to claim vindication in a legal battle that has played out as much in public statements as in court filings. Lively’s team pointed to the judge’s finding that she acted without malice, while Baldoni’s attorneys emphasized that many of her original claims had been dismissed.

Still, the settlement agreement bars either side from appealing Liman’s ruling, potentially drawing one of Hollywood’s ugliest recent legal fights to a close.

The EastEnders actress leads the cast in the six-part psychological thriller

A gripping mystery drama featuring an EastEnders icon is now available to watch for free.

Little Disasters, previously described as a “complex psychological thriller with a mystery at its heart”, lands on Channel 5 tomorrow (June 14), after initially premiering on Paramount+ last May.

EastEnders favourite Jo Joyner, widely recognised for her iconic portrayal of Tanya Branning, heads up the cast alongside Hollywood star Diane Kruger.

Based on Sarah Vaughan’s bestselling novel of the same title, the series charts the decade-long bond between Jess (Diane Kruger), Liz (Jo Joyner), Charlotte (Shelley Conn) and Mel (Emily Taaffe).

The story follows four expectant mothers who were brought together with little in common beyond their due dates, yet have supported each other throughout the journey of motherhood, reports Wales Online.

As the synopsis reveals: “The world of seemingly perfect stay-at-home mother Jess begins to unravel when she brings her baby daughter Betsy to the hospital with a head injury she can’t explain.

“Her close friend and on-duty AandE doctor, Liz, must make the excruciating decision of whether to call social services.”

This pivotal moment sets off a chain of events that threatens to tear apart both their friendship circle and their individual families.

The Little Disasters cast also features Ben Bailey Smith from The Split, alongside Patrick Baladi (Line of Duty), Stephen Campbell Moore (The Gold), and JJ Feild (The Peripheral).

Discussing the programme, Jo previously revealed that this style of storytelling not only inspired her to accept the role, but is unlike anything she had previously encountered on television.

She said: “I know somebody who suffered with postnatal OCD and I had only recently found out about it myself. So, I thought it was a really great topic to explore actually.

“Any kind of postnatal depression must be horrendous, I was lucky I didn’t suffer from it myself. I can’t imagine having such intrusive thoughts about your own child and I think that was another brilliant thing to bring up but also serves well for a thriller, doesn’t it?”.

The six-part series remains available for streaming on Paramount+, but will also broadcast on Channel 5 from this weekend, with the opening episode debuting in the 9pm slot on Sunday, 14 June.

Predictably, viewers have wasted little time making their feelings known, with one writing: “Worth the binge! #littledisasters.”

Another commented: “#littledisasters is everything I needed…” Meanwhile a third added: “Good show, oh my days, the suspense got me.”

Little Disasters premiered on Paramount+, and will air on Channel 5 on Sunday, 14 June.

THE Ibiza Final boss has confirmed he’s SPLIT from his girlfriend amid reunion rumours as his viral fame ends the romance.

Newcastle lad Jack Kay’s life changed forever after he became an overnight viral sensation.

The 26-year-old was spotted boozing and grooving while holidaying on the Spanish island of Ibiza.

A clip of the former builder was viewed over 20 million times last August and fans became obsessed as they felt his distinctive look perfectly encapsulated the party isle’s clientele.

Jack became known for his bowel haircut, oversized chain, vest top and square shades and it wasn’t long before his girlfriend, Alisha Cook, decided to stake her claim.

But it has now been confirmed the pair have gone their separate ways.

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Jack told The Sun he was single and doesn’t see a Mrs Final Boss on the horizon for quite some time.

Although the Misfits boxer did hint that he could find the one over on the party isle.

He said: “I might do.

“But I haven’t found Mrs Ibiza Final Boss yet, but probably a couple of years for that.”

It seems Jack’s partying days are not yet behind him as he admitted he’ll be making his way back to Ibiza this summer.

His pals told us last year that his stunning ex Alisha drew a line under their relationship after she became sick of him living it up with the lads.

The debt collector, from Durham, was furious and pulled the plug before he jetted off.

However, it was then rumoured they’d reconciled but he was “skating on thin ice.”

When Alisha was approached for comment, she confessed she “loved him” and they were “back together.”

Jack spent weeks enjoying his sudden fame in Ibiza and it seems the pair couldn’t navigate him being in the spotlight.

Ahead of his Misfits boxing match on Saturday he admitted he won’t be returning to his day job as a builder.

Jack said there’s “definitely not” anything to miss from working in construction.

He added: “This life’s the easy life.”

The Ibiza Final Boss will face off against Manchester rapper Jordan McCann in the ring after two months of being sober.

The U.S. Justice Department has cleared the way for Paramount Skydance’s $111-billion purchase of Warner Bros. Discovery — a major milestone that moves David Ellison closer to his goal.

After a months-long review, Justice Department antitrust regulators on Friday concluded the combination would not violate federal anticompetition laws. Approval had been expected because President Trump — who has friendly ties with Ellison and his father, tech billionaire Larry Ellison — favors the deal.

The government stopped short of asking Paramount to make concessions or divestitures.

Buying Warner Bros. would allow Paramount — Hollywood’s smallest major company — to bulk up with such prestigious properties as HBO, CNN, HGTV and Food Network. Those would be combined with properties Paramount already owns, including CBS, Comedy Central, Nickelodeon and MTV.

The deal would put two historic film studios and two prominent news organizations under the same roof. It would give Paramount four streaming services, including HBO Max, and dozens of cable channels.

In its four-page closing statement, the Justice Department emphasized that career antitrust regulators — not political appointees — had performed a rigorous review, sifting through some two million documents the government received from dozens of sources, including third-party organizations.

They conducted meetings and deposed senior-level executives and other witnesses.

“These investigative efforts all led to the same conclusion: the film and television industry is highly dynamic, and the proposed transaction is not likely to harm competition or American consumers,” Justice Department regulators wrote in their summary.

Regulators zeroed in on three potential areas of concern. They looked at whether the merger would give Paramount too much power in the streaming video-on-demand market; the traditional linear television channel space; as well as in “studio development, production, or distribution of films for theatrical release,” the Justice Department said.

Competition in streaming would not be crimped, according to the regulators.

“To the contrary, the combined firm is likely to increase competition by offering consumers a more robust competitive alternative to the larger [streaming] offerings,” they wrote.

The antitrust division also found that theatrical distribution and opportunities for creators, including writers and actors, would not be harmed as long as the combined company maintained current production levels.

Ellison has promised to continue releasing 30 films a year with a combined Warner Bros.-Paramount studio. He also has said he would protect the HBO brand.

The proposed merger is controversial because many in Hollywood fear it will bring thousands of job losses, which was the result of past consolidations, including Walt Disney Co.’s 2019 takeover of Fox entertainment properties. More than 5,000 entertainment industry workers, including Jane Fonda, J.J. Abrams, Javier Bardem and Mark Ruffalo, have signed an open letter calling for the merger to be blocked.

There’s a political dimension as well. Paramount’s standing with the Trump administration (Paramount+ is set to televise Sunday’s UFC fight spectacle at the White House to celebrate Trump’s birthday as part of the company’s relationship with the UFC) has given left-leaning groups pause.

They worry about collapsing CNN and CBS News into one unit, particularly after all the turmoil that has ensued at CBS News since the Ellison family bought Paramount in August and installed Bari Weiss as CBS News editor in chief.

This month witnessed a dramatic shakeup at the iconic “60 Minutes,” with top executives and three well-known correspondents tossed out.

“We’ve already seen how far Paramount and the Ellison family are willing to go to diminish a once-proud network and news organization like CBS,” Craig Aaron, co-chief executive of the progressive group Free Press, said in a statement. His group fears the Ellisons would “do worse if they get their hands on Warner Bros., HBO, CNN and all the rest.”

Paramount, for its part, said it was grateful for “the Department of Justice’s thorough review of this transaction, as well as the work of the other agencies that have completed their reviews and provided clearance to date.”

“This deal is pro-competitive, resulting in a stronger company better positioned to compete against dominant technology platforms in an industry increasingly defined by intense competition for audiences, talent, technology, and investment,” Paramount said. “We remain focused on completing the transaction as soon as possible and delivering its benefits to consumers, creators, and the entertainment industry as a whole.”

Paramount wants to finalize its purchase by September.

With Friday’s victory, Paramount is staying on that timetable, but regulators in Europe and Britain have opened their own regulatory investigations and are expected to make their own determinations in the coming months.

Separately, California Atty. Gen. Rob Bonta and other state attorneys general have been scrutinizing the proposed merger, and are widely expected to file a lawsuit, perhaps as early as this month, to try to block it.

Paramount applied for Justice Department approval in December — more than two months before it edged out Netflix in the Warner sweepstakes.

In its statement, the Justice Department said it began its review last fall when it was clear Warner Bros. was in play. Regulators said they were familiar with Warner’s businesses, because the division had scrutinized four other mergers involving the company, dating back to the disastrous AOL-Time Warner merger in 2001.

Paramount’s deal would mark the third time Warner has changed hands in the last decade. AT&T bought the company in 2018 and then sold it to the smaller Discovery four years later. That deal left Warner Bros. burdened by debt, setting the stage for the Ellison takeover.

Justice Department approval could complicate efforts by Bonta and other state attorneys general to block the deal. Should Bonta or others sue, they would have to convince a judge that the nation’s top antitrust regulators failed to make a proper finding despite their lengthy review.

That may pose a high bar for the state officials, who are facing political pressure to stop the deal.

“State AGs must block this merger,” U.S. Sen. Elizabeth Warren (D-Mass.) said in a statement Friday, adding that the Justice Department’s approval was “terrible news for every American who doesn’t want Trump-aligned billionaires to control what they watch and how much they pay.”

The Justice Department said state attorney general offices had participated in its investigation, which allowed federal and state officials “to share information with each other and for the States to attend and participate in the [antitrust] Division’s depositions.”

Last month, David Ellison appeared before the regulators in a two-hour session.

Paramount’s Chief Legal Officer Makan Delrahim, who previously served as the nation’s top antitrust regulator during the first Trump administration, also was busy quarterbacking Paramount’s outreach with regulators.

Jeremy Clarkson and Lisa Hogan ran into problems with their Guineafowl flock in Clarkson’s Farm season 5.

Jeremy Clarkson made his feelings known about a ‘massacre’ in the new episode of Clarkson’s Farm.

Clarkson’s Farm season five is back on Prime Video with two brand new episodes, and viewers discovered that Jeremy Clarkson had encountered yet another maddening setback — just one of many this series.

In earlier episodes, he revealed that Diddly Squat Farm had welcomed some unexpected new residents — a flock of Guineafowl donated by one of his daughters.

In episode five, which has just dropped, Jeremy explained how his partner Lisa Hogan had called him back to the farmyard because things had gone suspiciously “too quiet”.

Guineafowl are well known for being boisterous birds, so alarm bells rang when the pair couldn’t hear a single sound coming from the area where they were being kept.

Clarkson’s eldest daughter, Emily, had presented her father with the birds, but Jeremy soon concluded: “They are not in here, are they?”

As he and Hogan searched the surrounding area, Jeremy exclaimed: “Oh s***”, upon spotting Guineafowl feathers strewn across the grass.

Moments later, he uttered: “Oh no,” as he made the grim discovery of a dead Guineafowl. “Oh and another one, for god’s sake,” he added, as he uncovered more of the stricken birds.

“That’s a fox, isn’t it? Just killing for fun,” he concluded. “How am I going to explain this? Granddaughter comes for the weekend, ‘Can I go and see the Guineafowl?'”

He went on to brand the fox a “murdering b******”, though there was a glimmer of hope as one bird had managed to survive by flying up into a tree.

Later in the episode, Jeremy returned to check on the surviving bird, only to find it had also fallen victim to a fox. “I started the day by checking in on our one remaining Guineafowl,” he narrated, as viewers watched him calling out for the bird.

“Oh no, f*** sake, this is just beyond belief,” he exclaimed, holding up the stricken bird, which had been completely decapitated.

“It’s just bitten its head off, it hasn’t even eaten it. He’s had the lot.”

Jeremy rounded off his narration by saying “there was, though, only time to seethe, not mourn, because today was a big day on the ag-bot front”.

He was subsequently shown attending to his agricultural robot, a piece of kit he had purchased to ease the burden of farm life following his health scare.

Clarkson’s Farm season 5 is airing on Prime Video

A brand-new series of Celebrity Gogglebox kicked off this month as Channel 4 fans saw some familiar faces on their screens.

There’s good news for Celebrity Gogglebox fans as a beloved duo has made their return to the programme.

The popular Channel 4 programme, which first aired almost seven years ago, made its return to screens last week for a brand new season.

Last week, viewers saw some familiar favourites back on the show, giving their thoughts and reactions to the latest television offerings.

These included the likes of Shaun Ryder and Mark ‘Bez’ Berry, Vicky Pattison and Pete Wicks and Jennifer Saunders with her daughter Beattie.

While there were also some new additions, such as George Clarke and Max Balegde, Julian Clary and Nigel Havers and Olivia Attwood with her mum Jennifer, one duo was noticeably absent.

Rylan Clark and his mum, Linda, first joined the programme back in 2019 and have been firm staples on the beloved show.

Although they may have missed the first episode of the new series, they were back in action this Friday (June 12).

Sharing a clip on Instagram, the 37-year-old said: “Guess who’s back on Gogglebox… It’s Linda! We are very excited to be back this Friday night.”

Turning the camera to his mum, Rylan asked if she was excited to be back on the show, and she confirmed she was. He finished off the video by adding: “Right, we’ll see you Friday night!”

It wasn’t long before people commented on the post, with many thrilled to see them back on the show.

One person said: “Love you guys. So good to see you back and looking lovely as always.” Someone else shared: “Hey Linda, about bl**dy time.”

Another fan added: “Glad you are both back, was hoping you would.” While one person commented: “I wondered where you guys were last week!!! Good to have you back again. Love your banter.”

Someone else shared: “Delighted to hear this news – missed the pair of you last week & was hoping you would be back.” As another person added: “Good to see you back Linda..and Rylan of course. Cannot wait to see you both back on.”

While on X, one person said: “Rylan and his mum back.” As another added: “I love @Rylan’s mum so much.”

Celebrity Gogglebox is available to watch on Channel 4

KATIE Price has said that nobody knew just how bad things were for her when she experienced some very ‘dark moments’ in her life.

The TV star, 48, is gearing up for the release of her upcoming tell-all docuseries, Katie Price: Nothing to Hide – in which she will recount her 2018 and 2021 breakdowns.

Her candid and unfiltered account of three decades in the spotlight is coming to Sky and NOW on July 8.

This week, Katie attended the Sheffield DocFest where she revealed that during her darkest moments and confessed ‘no-one knew how bad it was’, with this set to play out in her new series.

Katie suffered a major mental breakdown in around 2018 following a build-up of traumatic events in her life, she then suffered another in 2021.

She experienced severe depression, suicidal thoughts, and even checked into The Priory amid her breakdown.

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Speaking about this at the DocFest event ahead of her Sky show dropping next month, Katie got candid and confessed: “When I had my breakdown, I don’t think people really knew how bad it was, and how it affected people in my life.

“To hear that my loved ones cried and how much they loved me is like a wake-up call for me.

“There are some really dark moments [in the series] but at the same time, uplifting.

“People have to remember that it’s actually my life, so if you’re exhausted just watching it, imagine how exhausting it is for my little pea brain.

“But I really enjoyed doing it.

“I said they should do 10 parts and they wanted to, but we were lucky to push it to four [episodes].

“There’s still so much you could put in it. Even from what you’re reading today.”

Elsewhere at the event, Katie said: “I’m an open book.

“When [the team] came to me about the documentary, I got excited because something about me and my life is perfect.

“The media narrative is so different to what I’m really like but as you say, every day, even now, there’s always something.

“My life could actually be a soap story – it just doesn’t stop. I’m normal but it’s a weird world I live in. I can’t explain it.”

She also touched on being authentic.

“I have nothing to hide, and when they asked me, ‘are there any areas you don’t want us to go?’, I said, no! You can talk to absolutely anyone you want and you can talk to me about anything you want,” she confessed.

“Luckily the duty of care was amazing. Sometimes after two hours [of interviews], I couldn’t do any more.

“There are moments where I’ve had therapy to get over some of the things in my life, and I had to relive them.

“But I think this is what makes a good show, and I love watching documentaries.

“So many people are so manufactured and they’re in on the edits, so they look like a polished turd, basically. I am not that!

“Even I’m cringing at some of the stuff in the first episode! I haven’t had time to reflect on anything in my life because there’s always the next thing, and the next thing.”

The award-winning journalist takes centre stage one last time in an extraordinary new film made for Channel 4

Former newsreader Jon Snow Is now “living a quieter life” months on from filming a documentary with Channel 4 about having Alzheimer’s disease.

The 78-year-old cancelled a planned appearance on a panel at the Sheffield Documentary festival on Friday which coincided with a screening of Jon Snow : A Last Big Story which shows him navigating life with Alzheimer’s.

The film, which shows the beginnings of his memory fading, actually finished filming last year. Asked how he was now, the Executive Producer Ben de Pear who also worked with Jon for many years on Channel 4 News said: “He has been in Zimbabwe(on holiday) and I spoke to him recently. He was his usual self, he was feisty, funny and really excited about the film coming out. Jon is living a quieter life but I think he is still interested and engaged in the world and still fascinated by people. When he goes to the supermarket he still ends up speaking to people for 20 minutes each.”

On the original plan of him being at the event in person, Ben added: “To be honest some days it is good and he could have been on stage, we could have had a discussion and some days it’s worse. That is the nature of the disease.” He told the audience that Jon “sent his love” before the screening began.

Ben and director, Laura Warner also spoke about the unusual circumstances around making the emotional film and then showing it to Jon and his wife, Dr Precious Lunga.

Laura said she would start each day explaining who she was and what film she was making to make sure Jon was still happy. She added: “Every day we would have to re-consent Jon and he would ask why there were cameras and we would explain.

“He was extremely engaged and leading the story. But there would come a time every day, around about sort of sunset, I think it is called sundowning where Jon would really start to struggle. The cameras went down at that point every day and we would look after him.”

On the final edit, Laura recalled: “Jon and Precious watched it several times in terms of giving it send off. It was really important to Precious that he viewed it by himself the first time, so he wasn’t influenced by her reaction too it or anyone else’s.

“He had a really emotional reaction to it because I think it was the first time he had seen himself with the condition.”

Ben added: “Precious loves the film, she thinks it is really important.”

The film also sees Jon discover a news story whilst on holiday in 2025, which leads an investigation into a Zambian community whose land and water were impacted by a mining disaster.

As the Mirror previously reported, he speaks in the film about his own mortality, and seems happy with the life he has.

Jon says: “A strange old business life. I had a good innings of it. It’s understandable, you can be worried about death, but to be worried about growing older is irrelevant. It’s absurd. How old is older? You’re going to die tomorrow or the next day. Stop worrying and get on with it.”

His wife Precious says of the film: “I want it to be a story of love, laughter, acknowledging that times are hard. I don’t shy away from the fact that it’s hard caring for someone with Alzheimer’s. But we can also be on the lookout for opportunities that would lessen that burden. And yeah we do that by having our little adventures.”

* Jon Snow: A Last Big story will be available to watch and stream on Channel 4 on Sat June 20 at 8pm.

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Gene Shalit, the fast-talking funnyman who reviewed films, plays and books for NBC’s “Today” show has died. He was 100.

Shalit’s family confirmed the longtime critic’s death Friday, telling NBC that he “passed away peacefully after 100 years of an amazing life.”

According to a 2010 interview with Guy Ludwig, Shalit’s producer for more than 20 years, Shalit was hired as a contributor at “Today” in 1968. He reviewed books once a month or so, but audiences were so fascinated by his eccentric personality and equally unconventional looks that NBC ramped up the critic’s on-air appearances.

In January 1973, on the same day he was promoted to arts editor, Shalit debuted “Critic’s Corner,” the segment that would ultimately make him a household name. In 2010, Shalit retired as one of the last regular film critics on a major network.

Ludwig referred to Shalit as the “foxy grandpa” of the “Today” show.

Shalit cut his teeth in media as an entertainment columnist for McCall’s magazine, eventually landing the role of senior film critic for Look magazine in 1968 and writing a humor column for Ladies’ Home Journal. His quick wit, punchy puns and unique voice came through even on the page, and NBC took notice.

“No one at NBC had seen him. They’d only read his stuff. So he walked into this executive’s office and the executive took one look at him and said, ‘Mr. Shalit, have you ever thought of radio?’” Ludwig told “Today.”

“They didn’t know how the public would react to someone who looked so different from people who were typically on TV in 1967.”

On “Critics Corner,” Shalit favored humor over the highfalutin. He was an everyman’s critic. Of 1997’s action-thriller “Face/Off,” he said, “Now, ‘Face/Off’ is a literal title, because both of their faces are taken off. Then each face is put onto the other’s head. Even their voices are switched with microchip implants. In other words, this is an entirely reasonable, rational movie!”

“Many critics will give so much of the plot of a movie away that they destroy the movie for the viewer … I just don’t give away the story,” he told the Associated Press in 1993.

During his tenure, he was known to bust up his colleagues, and “Today” anchors ranging from Edwin Newman, Barbara Walters and Jane Pauley to Tom Brokaw, Bryant Gumbel, Katie Couric, Al Roker and Meredith Vieira.

But not everyone appreciated Shalit’s style. In 1989, a leaked in-house memo from “Today” show co-host Bryant Gumbel to Marty Ryan, the former executive producer of the NBC program, complained that Shalit’s film reviews “are often late and his interviews aren’t very good.”

Eugene Shalit was born March 25, 1926, in New York City and grew up in Morristown, N.J. He launched his elementary school’s first newspaper, “The Spotlight,” and purchased a fedora to seal his fate as a journalist. In Morristown High School he wrote the school newspaper’s humor column “The Broadcaster.” In 1949, he graduated from the University of Illinois at Urbana-Champaign.

Shalit was married to Nancy Lewis for 28 years until her death in 1978 and never remarried. The couple had six children: Peter, Willa, Emily, Amanda, Nevin and Andrew. Emily died from ovarian cancer in 2012.

The Directors Guild of America’s national board on Friday unanimously recommended its membership vote in favor of a four-year contract with the major studios that would increase wages, boost contributions to its health plan and establish guardrails surrounding AI technology.

“We entered this negotiation with three main priorities: secure our Health Plan, protect jobs, and ensure that our members remain secure as AI continues to impact our industry,” DGA President Christopher Nolan said in a statement. “We succeeded in these areas and gained in many others.”

Under the proposed contract, major studios would increase their contributions to the DGA’s health plan by 24.4% over four years, the largest since the plan was founded. In return, the DGA would recommend changes to its plan’s trustees including “modest” increases to the eligibility threshold and annual premiums, the DGA said on Friday.

The contract also increases minimum salaries for most jobs by 2.5% in the first year and up 3% for each of the following years in the agreement. Directors of network non-prime time strip dramatic programs will see their minimum salaries increase 2.5% for each year under the agreement.

The union, which represents more than 19,500 directors and members of directorial teams in areas such as film, commercials and news, said the agreement helps the union’s push for a federal production incentive. Hollywood creatives believe such a benefit could prevent U.S. entertainment jobs from moving overseas where production costs can be significantly lower. The proposed agreement secures a commitment that most senior management at the major studios represented by the Alliance of Motion Picture and Television Producers “would engage in meaningful advocacy for a federal production incentive above and beyond the ongoing lobbying efforts of the Motion Picture Association,” according to the DGA.

The contract also adds more guardrails to AI technology, including treating footage created by artificial intelligence as the same as footage shot by a camera, meaning it will still be under the director’s control, according to the DGA. Major studios will also be required to notify the DGA if an employer decides to license a director’s work to train a generative AI system to create new work, the union said. The agreement also establishes an employer-funded program to enhance directors’ AI skills.

“With these gains, a four-year Agreement was both appropriate and necessary to provide stability and potential for growth at a moment when the industry has been experiencing contraction,” Nolan said in a note to members on Friday.

DGA and AMPTP reached the tentative contract earlier this week. At that time, AMPTP said “we appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry.”

DGA members will have until June 25 at 5 p.m. to vote on the plan. If approved, the contract would go into effect July 1 and run through June 30, 2030.

TIKTOK star Becki Jones has revealed what she REALLY eats in a day on holiday at an all inclusive hotel.

Showing off her 10 stone weight loss in Tunisia, Becki, 32, could be seen eating yummy food and enjoying herself following the news of her engagement.

Becki, who has denied having used fat jabs or having surgery to shed the weight in around six months, began her day with some scrambled eggs and one slice of toast.

The slimmed down star then looked at the yummy cakes and pastries before opting for a bowl of yogurt with jam on top of it, a sprinkling of cereal and a tiny cupcake.

After breakfast, Becki headed outside and enjoyed a carton of apple juice.

She later sipped a fruity cocktail, which looked as though it had the consistency of a smoothie.

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Becki and her husband-to-be then looked at some of the food that was on offer on the beach.

Sitting down, Becki then zoomed into what was on her partner’s plate, which was fries and chicken nuggets, though it is not known if Becki ate anything.

Later on in the day, Becki ate a bowl of food that looked like minced beef, coleslaw, fries and some baguette without any butter.

She then headed outside again and enjoyed a yummy frozen cocktail.

Lounging beneath the sunshine, Becki opted for an ice cream which was in the flavour of ‘berries and cream’.

Back in her room, Becki had showered as she tucked into a packet of savoury snacks with some water.

Heading out again, Becki had a wander around before sitting down to eat two chunky spring rolls with a chilli dip.

She then ate what looked like mashed potatoes with a chicken kiev and broccoli.

Becki then enjoyed what looked like a creamy risotto dish before tucking into a berry-flavoured cake for dessert.

One fan commented on the post: “That risotto looked lush not gonna lie.”

While another said: “Great day of food!!! Looks so yum!”

This comes after Becki confirmed that her partner Chris Beattie had popped the question to her during a dreamy beachside proposal on their holiday.

Becki took to Instagram to share the moment that Chris got down on one knee to pop the question to the TikTok legend.

“We’ve been keeping a secret. I said yes. My fiancé, my Chrissy. What a surprise!!

“I was shocked, emotional, nervous laughing and we’ve been in a little bubble since Monday,” she penned online.

“You’ve not only shown me love but you’ve shown me kindness, respect and what it feels like to be treated like a princess.

“This was so special, romantic and the best kept secret.

“I love you Chrissy so so so much.

“Here’s to the future and making more memories.”

The Washington National Opera filed a lawsuit on Thursday that demands more than $17 million from the John F. Kennedy Center for the Performing Arts. The opera company claims it is owed millions in donations that have been withheld.

The lawsuit claims that after the opera company and the Kennedy Center parted ways in January, center officials have not returned more than $17 million in gifts and donations that belong to the opera company. The lawsuit lists the federal government as a defendant because the Kennedy Center was established by Congress.

According to the suit, the opera company and the Kennedy Center had a longstanding contract in which WNO produced its operas at the Kennedy Center, which in return, provided a number of services and other support for the opera company including managing its donations.

In late 2025, after approximately 15 years of affiliation, the suit claims that the Kennedy Center stopped performing the obligations of their agreement, which included marketing, fundraising and administrative support, as well as timely reporting on the growth of the opera company’s funds. When the opera company requested the Kennedy Center remedy the issue, center officials asked to sever ties.

“Five months have now passed since the termination of the affiliation, and the Kennedy Center still has not returned the funds to WNO,” reads the suit. “To the contrary, according to the Kennedy Center’s Chief Financial Officer, the Kennedy Center has put a significant portion of WNO’s money at risk by using it to collateralize the Kennedy Center’s line of credit.”

In an emailed statement responding to the lawsuit, Roma Daravi, a spokeswoman for the Kennedy Center, told The Times that the contract between the opera house and the center financially burdened the center for more than a decade. The statement claimed that taking into account the company’s endowment, an external accounting firm calculated that the opera company had “accumulated a $72 million deficit to the center” between 2011 and 2026.

“The Center has acted transparently and in the best interests of the public throughout this process,” the statement reads. “This lawsuit is meritless, and we plan to pursue a countersuit to defend the institution.”

The legal action comes during a tumultuous time for the Kennedy Center. Last year, President Trump fired the board and appointed himself chairman of the Kennedy Center.

In December, President Trump’s name was installed on the exterior of the center the day after his handpicked board of trustees voted to change the institution’s name to the “Trump-Kennedy Center.” Last month, a federal judge ordered President Trump’s name to be removed from the exterior of the building within two weeks and a halt to the Trump administration’s planned two-year closure of the venue.

On Friday, the court-ordered deadline for removing his name sparked widespread interest and crowds gathered outside the center. A live cam was also placed near the structure.

The Times arts editor Jessica Gelt contributed to this report.

In “Rheology,” Shayok Misha Chowdhury, an experimental theater artist, and his mother, Bulbul Chakraborty, a theoretical physicist, bridge the language of their different disciplines to explore a subject dear to both of them: loss.

Chowdhury, author of the play “Public Obscenities,” a 2024 finalist for the Pulitzer Prize, and the director of the sensational off-Broadway production of Jordan Tannahill’s “Prince Faggot,” is as tenderly devoted to his mother as the young Marcel was to his own in Proust’s “In Search of Lost Time.” The idea of his mother dying is insupportable to Chowdhury, but given that she’s in her 70s and he’s in his 40s, certain terrifying realities must be faced.

“Rheology,” which is receiving its West Coast premiere at REDCAT (in a brief run ending Saturday), is the piece they’ve created to prepare Chowdhury for that fateful day. This strikingly staged Bushwick Starr, HERE Arts Center and Ma-Yi Theater Company production is an interdisciplinary experiment that is as playful in its methodology as it is serious in its research aims.

Chakraborty, a professor at Brandeis University, starts off with a physics lesson. Her subject is sand, and she poses a simple question: Is the sand pouring through the hourglass sitting on the counter before her a liquid or a solid?

A charismatic teacher, she knows how to Socratically engage a room. Her welcoming manner draws out from the audience the different ways sand behaves both like a solid and like a liquid.

Shayok Misha Chowdhury, in rear, and Bulbul Chakraborty in “Rheology” at REDCAT.

(Roy and Edna Disney CalArts Theater [REDCAT])

Rheology, or the science of how a substance responds to external stress, is her chief interest. Her research, focused on soft condensed matter, has been seeking a comprehensive theory to explain the curious elasticity of such material. A photo of a sand dune, in which she’s seated alongside Chowdhury as a toddler, helps illustrate her point that sand can flow like a liquid yet retain its shape like a solid.

An onstage sandbox is more than just another visual accompaniment to her talk. It’s a source of both elemental mystery and childlike wonder. But elucidation is her motive. She enters the box with her bare feet, noting the way the sand flows around her toes yet supports her weight in observation of the rule that “every grain has to be in force balance.”

She writes equations on the board to explain these findings, equations that begin to glow as the production moves from the realm of pure science to the more slippery domain of art. The transition, like all aspects of this piece, is frolicsomely conducted.

While pouring sand from one container to another, Chakraborty appears to be overcome with dust. For a moment, it’s not clear if this is part of the show or a medical incident until Chowdhury, discreetly occupying a seat in the audience, asserts himself as the director. He asks his mother to run through the death scene with a different sequence of movements and introduces the accompaniment of George Crotty on cello to liberate her performance.

They are rehearsing not so much Chakraborty’s end but Chowdhury’s reaction. He assumes he will fall apart and vows to die himself out of heartbreak. Chakraborty wants him to carry on his work, just as she carried on her research as a mother with a young son who would wail uncontrollably when she would drop him off at daycare.

She recounts that his emotional outbursts were so extreme that it was painful leaving him behind. But she was assured that he was handling the separation. For proof, she was taken into a private teacher’s room, where through a one-way mirror she saw him compose himself shortly after her departure and start to play with the other children.

Mother and son enact a similar situation where, after a more permanent leave-taking, she can catch a glimpse of her son recovering himself sufficiently to survive her loss. Chowdhury, a queer artist who enjoys sampling performance modes, adopts the figure of the grieving Bollywood widow. The effect isn’t to lampoon but to confront his raw emotion and to test his capacity for resilience.

The experiment might sound sentimental, but Chakraborty, the production’s secret weapon, maintains a scientific restraint, albeit one suffused with maternal anguish. The way she listens to her son, takes in his feelings, gently suggests other possibilities of response and treats his experimental theater piece with the same dignity as her own research is incredibly moving to witness. Her performance won an Obie Award, and though she insists that she’s not an actor she demonstrates a sincerity and collaborative grace that many veteran performers would envy.

As it unfolds, “Rheology” can seem piecemeal, even haphazard. There’s an informality built into the production, but it’s somewhat deceptive because the mercurial staging is extremely precise. Chowdhury’s direction has visual panache. Kameron Neal’s video design transforms Krit Robinson’s part lab, part lecture hall set into something kaleidoscopic.

When mother and son sing songs from the famous cycle by Bengali writer-composer and Nobel laureate Rabindranath Tagore or hold a deathbed conversation in Bangla, the piece spins further across time and space. Empiricism gives way to surrealism. But the world, as any scientist probing into the atomic level can attest, contains more secrets than meets the eye.

Fragile matter is Chakraborty’s specialty, and her expertise is put to novel use in shoring up her son’s tender heart.

Elizabeth Olsen has been a regular on our screens for the past 15 years with plenty more to come.

Elizabeth Olsen fans may be surprised to see an unexpected hit ranked as number one.

Actress Elizabeth is no stranger to some of the biggest shows and films around, including none other than the iconic Avengers franchise.

She initially found fame as the older sister of twin actresses Mary-Kate and Ashley Olsen, known for appearing in Two of a Kind, before creating her own path in the entertainment industry.

As it’s now been revealed that Olsen is pregnant with her first child with husband and musician Robbie Arnett, here’s a breakdown of how Elizabeth Olsen’s work is ranked.

Elizabeth Olsen shows and films ranked

10. In Secret

Coming in last place for Elizabeth Olsen’s work is 2013 film In Secret, also referred to as Therese with just 41% on Rotten Tomatoes.

Also starring Oscar Isaac, Jessica Lange and Tom Felton, the official synopsis reads: “Therese is stuck in a loveless marriage to her sickly cousin, Camille.

“Her life changes when she meets Camille’s childhood friend, Laurent.

“They have an affair, but things end rather tragically.”

9. Love & Death

Scoring a more respectable 63%, Love & Death is a 2023 biographical crime drama that aired on HBO Max in the US and ITV in the UK.

The description reads: “Two couples lead peaceful and happy lives in a small Texas Town.

“However, an extramarital affair tragically alters the course of their lives.”

Olsen stars alongside Jesse Plemons, Lily Rabe, Tom Pelphrey and Krysten Ritter.

8. Eternity

Supernatural romantic-comedy Eternity came out last year and earned an impressive 76%.

Starring opposite Olsen in the Apple TV film is Whiplash actor Miles Teller and Masters of the Air actor Callum Turner.

The synopsis reads: “In an afterlife where souls have one week to decide where to spend eternity, Joan is faced with the impossible choice between the man she spent her life with and her first love, who died young and has waited decades for her to arrive.”

7. Doctor Strange

One of the numerous films in the MCU (Marvel Cinematic Universe) to score big for Olsen is Doctor Strange with 73%.

The description reads: “In an accident, Stephen Strange, a famous neurosurgeon, loses the ability to use his hands.

“He goes to visit the mysterious Ancient One to heal himself and becomes a great sorcerer under her tutelage.”

Olsen is joined by the likes of Benedict Cumberbatch, Rachel McAdams and Chiwetel Ejiofor.

6. Kill Your Darlings

Released 12 years ago, the 37-year-old stars in thriller romance Kill Your Darlings with Harry Potter icon Daniel Radcliffe and The Amazing Spider-Man 2 star Dane DeHaan.

The synopsis for Kill Your Darlings, which earned 78% on Rotten Tomatoes, reads: “A literary revolution ensues when Ginsberg meets Carr at college.

“However, an unresolved murder invites trouble for Carr and sets Ginsberg on a path to reveal the truth through controversial poetry.”

5. Avengers: Infinity War

2018’s Avengers: Infinity War is the third Avengers film and the 19th film overall in the MCU (Marvel Cinematic Universe).

Starring as Wanda Maximoff, also known as the Scarlet Witch, Olsen features in all of the Avengers movies with this one ranking 85%.

In this chapter of the Avengers story, the team joins forces with their allies to stop Thanos from finding the infinity stones.

4. WandaVision

Olsen has her own time centre stage in the MCU sitcom WandaVision where “Vision and Wanda live a normal life in Westview and conceal their superpowers. “However, as decades pass by, they start doubting that everything is not what it seems.”

Joining her in the hit series are recognisable stars like Kat Jennings, Kathryn Hahn and Paul Bettany.

WandaVision scores a near-perfect 92% with fans on Rotten Tomatoes.

3. Avengers: Endgame

Of course, it’s no surprise that Avengers: Endgame is among Elizabeth’s most popular films with a whopping 94%.

Once again joined by the MCU’s usual suspects including Chris Evans, Robert Downey Jr and Chris Hemsworth, Endgame became the highest-grossing film of all time, making more than $2.79 billion.

The synopsis reads: “After Thanos, an intergalactic warlord, disintegrates half of the universe, the Avengers must reunite and assemble again to reinvigorate their trounced allies and restore balance.”

However, Avengers: End Game not only isn’t Olsen fans’ favourite but also comes in second place with two other projects scoring higher.

1. Sorry For Your Loss

One of those taking the top spot with a staggering 97% is the two-seasoned drama Sorry For Your Loss.

Originally debuting in 2018, the description for the drama states: “The sudden death of her husband upends and transforms every relationship in Leigh Shaw’s life, also forcing her to realize there was a lot about her husband that she didn’t know.”

Archive 81 and Uncorked actor Mamoudou Athie, Star Wars ’ Kelly Marie Tran and Ozark’s Janet McTeer join Olsen in this Prime Video series.

1. His Three Daughters

Also declared as Elizabeth Olsen’s top project is the 2023 comedy-drama film His Three Daughters with 97% from Rotten Tomatoes.

The description reads: “Three distant sisters reunite in NYC to care for their sick father.

“Tensions rise as they confront past issues, aiming to heal family bonds amid laughter and tears.”

Gilded Age star Carrie Coon and Poker Face’s Natasha Lyonne Rachel both lead the cast with Olsen.

More than any other artist in the 20th century, David Hockney defined Los Angeles in the public imagination. When he first arrived in January 1964, age 26, his mental image of the city had been forged not by art but by Hollywood movies, which he had watched as a young boy in Yorkshire, England. In later life, he often recollected the sharp-edged shadows cast by the Californian sunlight in movies such as Laurel and Hardy’s “Big Business.

Before he ever went to L.A., Hockney — who died Thursday at 88 — knew that he would love it. Writing about his first descent into the city, he recalled how “as I flew over San Bernardino and looked down — and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I’ve ever been arriving at any other city, including New York.” By this time, the glamour of Hollywood had been compounded by other influences, including the homoerotic magazines that an American friend had given him at the Royal College of Art in London. Titles such as Physique Pictorial, published in L.A. by the pioneering “beefcake” photographer Bob Mizer, held out a promise of California as a paradise of rippling men and permanent sunshine. A darker, no less thrilling image of the city had arisen from Hockney’s reading of “City of Night,” the 1963 novel by John Rechy that tells the story of a hustler in the gay underworld of downtown L.A.

Los Angeles itself felt young to Hockney. He loved the light, the architecture, the sense of space and the sense of possibility — not least the possibility of greater sexual freedom. West Hollywood boasted a large gay bar, the Red Raven on Melrose Avenue, that was unlike anything he had found in London or New York. There was also the lure of the beach, with its pageant of sculpted physiques. Venice Beach struck him as a more body-beautiful version of London’s Portobello Road.

Before long, his work shifted from generic fantasies of the city (a young man showering in Beverly Hills, for instance) to vivid portrayals of its real-life pools, palm trees, architecture and people. American artists such as Edward Ruscha and Edward Kienholz were producing their own canonical images of L.A. in these years, but for Hockney, there were no artistic precedents — “no ghosts,” as he later put it — to live up to. “People then didn’t even know what it looked like,” he once said. “And when I was there, they were still finishing up some of the big freeways.… I suddenly thought: ‘My God, this place needs its Piranesi, Los Angeles could have a Piranesi, so here I am!’ ”

He was true to his word, even if his luminous, serene images of the city were a far cry from Giovanni Battista Piranesi’s feverish visions of Baroque Rome. “Beverly Hills Housewife” (1966), a portrait of a pink-dressed collector in her modernist home, marked the onset of a realist style that would define Hockney’s work for the next decade. This era gave rise to paintings that became icons of their time and place. Among them were “A Bigger Splash” (1967), which was based on a magazine cover that he came across on a newsstand, and “Christopher Isherwood and Don Bachardy” (1968, sold last year at Christie’s New York for $44.3 million). Inspired by Hans Holbein, this portrait of the English novelist and his artist partner was one of the first celebratory portrayals of a gay couple. Hockney would later recount how Isherwood proclaimed: “Oh David, we’ve so much in common; we love California, we love American boys, and we’re both from the north of England.” Hockney’s beloved American boy at this time was Peter Schlesinger, a young artist he had met while teaching at UCLA in the summer 1966 — and a recurring presence in the early L.A. pictures.

According to Norman Rosenthal, who curated a major survey of Hockney’s art at the Fondation Louis Vuitton in Paris last year: “It is astonishing that a boy from a poor family in Bradford became the person — partly because of his gayness, but also his talent — who defined what everybody now thinks of as California. L.A. had no real image in the world before then, unlike New York.”

Despite his enchantment with Los Angeles, Hockney didn’t settle there until 1978, after a decade of bouncing between America and Europe. In the summer of 1979 he moved into a house in the Hollywood Hills, and soon adorned its pool with swishing strokes of blue paint. In the early 1980s, he converted the paddle tennis court into a studio. The meandering routes and Mediterranean scenery of the Hills were a fresh source of amazement, giving rise to monumental depictions of Mulholland Drive and Nichols Canyon in a newly abstract style.

By this time, the city was deeply familiar — a second home — and he had a close circle of friends around him who included the patron Betty Freeman (subject of “Beverly Hills Housewife”), the designer Gregory Evans, the gallery owner Nicholas Wilder and the film producer Joe Simon. “L.A. had represented a whole new world for him,” says Simon, who remained in regular contact with the artist until his final days. “He just loved the light. He was like a kid in a candy store when he first came. But David was all about the work. Everything came back to that.”

In recent decades, Hockney’s name had become synonymous with the landscapes of his native Yorkshire, which he began painting prolifically in the early 2000s. But Los Angeles never lost its newness and promise. His house in the Hills remained a sanctuary until his final years, when he was too frail to travel. L.A. was where he had come of age, and it remained an indelible part of his life and psyche — not least in terms of its egalitarian spirit and its tendency toward the horizontal. “The great thing about Hockney was that he spoke to everybody,” says Rosenthal. “Few artists of his world and his generation could do that.”

James Cahill, a novelist and an art critic, is the author of, among other books, “David Hockney” and the forthcoming “The Beverly Hills Housewife: Hockney’s Californian Muse and the World Beyond the Pool.”