show

Reality programme The Vardys has wrapped up and fans of the show have one big question

Reality show The Vardys has ended, leaving fans with one question.

The programme followed footballer Jamie as he left Leicester City and moved to Italy alongside wife Rebekah and their family.

As it ended on Thursday (June 4), many fans were left wondering if it would be back for a second series, reports Leicestershire Live.

Spanning three episodes on ITV, The Vardys documented the famous family’s relocation to a luxurious Lake Garda residence, where they adjusted to a new life and were faced with a break-in.

“After a difficult and dramatic five years in the UK, Rebekah is ready for the next chapter – but uprooting and moving to Italy with four kids (plus a superstar footballer husband) is not exactly what she had in mind,” a synopsis stated.

“As she manages the emotional and physical upheaval of the new move, she reflects on her recent challenges in the UK, intent on putting the ‘Wagatha’ drama behind her and focusing on an exciting new chapter.”

Following the finale, numerous viewers expressed their desire for another instalment.

“Watched all three episodes last night, loved it… will there be a second series,” one person asked on Instagram.

Rebekah hosted a Q&A on her Instagram Story, and when questioned about a potential second season, she responded: “We only ever agreed to do three episodes, but we will see. It’s a busy time right now.”

Another viewer mentioned watching the programme on catch-up and thoroughly enjoying it, asking if there would be further episodes. “Ah, thank you, we will see,” the star replied.

One viewer asked whether Rebekah and Jamie might venture onto YouTube, and she teased: “Just wait and see.”

Numerous viewers have suggested the series has revealed a different side of the star, and when one commented that Rebekah was a “great mum and wife”, she responded: “A villain makes a better story than the real person, I guess. Sometimes it’s easier to believe a headline than think for yourself.

“A lot of people built careers on getting me wrong,” she continued. “I’m really not as scary as they want you to believe.”

The Vardys is available on ITVX.

Loose Women has been hit with a sudden schedule change

Loose Women is set for a schedule shake-up.

Kaye Adams confirmed that the ITV hit show will be missing from the regular 12.30pm timeslot on Friday, June 5.

During Thursday’s (June 4) episode the TV presenter returned to our TV screens alongside fellow panellists Jane Moore, Oti Mabuse and EastEnders star Natalie Cassidy as they shared their opinions on the day’s trending topics.

Speaking at the end of the episode, Kaye revealed that the show won’t air tomorrow, however, she was quick to assure fans that they’ll be back in business on Monday (June 8) as normal.

She explained: “That’s it for today. No Loose Women tomorrow as ITV heads to the races but we will be back on Monday at 12:30. We will see you then.”

Loose Women will instead be replaced with the races. Viewers will see Francesca Cumani and Ed Chamberlin present live coverage of The Oaks from Epsom, plus the support races.

There will also be analysis from Jason Weaver and Adele Mulrennan, reports by Matt Chapman, Rishi Persad, Oli Bell and Mick Fitzgerald, and commentary from Richard Hoiles.

It comes after ITV’s shake-up that came into force at the start of 2026 when Loose Women was cut to a 30-week seasonal schedule.

Speaking about the cuts, Coleen Nolan previously told the Mirror: “The crew have become family. I’ve watched them grow. Some of our runners from back in the day are producers, married with kids. I’ve shared my life with them. They’re in limbo, not knowing what they’re going to do.”

She continued: “Loose Women isn’t ending, which I’m so thankful for, but it’s changing. It’s going to be very different in the respect of the size of the crew, but it’s still running. Which it should be – there isn’t another show that celebrates and supports all women of every size, age, whatever.

“But it’s heartbreaking to see some of my colleagues not knowing what they’re going to do. Many of them have young families and mortgages.”

Nadia Sawalha previously spoke out on the YouTube channel she shares with her husband Mark Adderley, saying: “Do you know what, at the moment, all of us on screen are in work and are proud of what we do.”

“But behind the scenes there are people that are really suffering, and what you don’t realise is when you attack the show you attack them, because you never see all the army of people behind the scenes and how hard they work.

“So to all my friends and colleagues behind the scenes who have just got a huge shock out of the blue, I’m so sorry. Mark knows how upset I’ve been at home about it. I just can’t bear it. So just be f****** kind to people. What people don’t realise at Loose Women is that we’re self-employed. Every contract is a new contract. I could be let go tomorrow.”

Loose Women airs weekdays from 12:30pm on ITV1 and ITVX.

One of the memorable moments of Venezuela’s crazy January ‘26 was ExxonMobil Chairman Darren Woods sitting across from President Trump, telling him Venezuela was “uninvestable.” His company is owed billions from Chávez-era expropriations, spent years in arbitration tribunals, and had watched its assets nationalised without fair compensation. Four months later, ExxonMobil’s technical teams were on the ground in Venezuela, evaluating assets including the Cerro Negro project. Woods was telling investors he felt positive about the opportunities.

The arc from expropriated creditor to ¿partner? is not happening by accident. In April 2026, the IMF and World Bank resumed dealings with Venezuela for the first time since 2019, opening the path to a formal economic assessment and potentially unlocking $4.9 billion in frozen special drawing rights. In May, the Delcy administration announced a “comprehensive restructuring of its sovereign debt” and PDVSA obligations, appointing Centerview Partners as financial adviser and pledging a macroeconomic framework by June. This did not include a request for a macroeconomic programme established by the Fund, which distanced itself from Venezuela’s announcement shortly after. According to Reuters, Venezuela’s total liabilities could be above $150 billion.

On June 2, Venezuela added Hogan Lovells as legal counsel for the restructuring under a dual mandate that also covers strategic lobbying for the Venezuelan embassy in Washington. The account is led by Norm Coleman, a former Republican senator with deep political connections in the capital. Neither selection has been free of political entanglement. Former Trump official Mauricio Claver-Carone, earmarked by The Washington Post as Venezuela’s unofficial viceroy, has vouched for Centerview. His business partner, Jessica Bedoya, was on the same chartered flight to Caracas as two Centerview executives on February 12, weeks before the firm finalized its contract (Centerview denied Bedoya played any role in their assignment).

Some of the companies that spent a decade winning arbitration awards against Venezuela may now be considering turning those claims into something more useful: an operating agreement, a new oil deal. Whether the game is actually changing, and the extent to which Delcy’s technical cadres can manage the process her government is trying to kickstart, are two of the huge questions for Venezuela’s “transition” observers.

Without the IMF as an anchor, the most aggressive litigants will extract preferential recoveries while others are left with worthless paper.

The shape of how Venezuela got here is also visible in a Delaware courthouse. In December, a judge signed the order transferring Citgo to Amber Energy, an affiliate of Wall Street hedge fund Elliott Management, for 5.9 billion dollars. The gavel came down, but the sale did not close. CITGO is now in legal and political limbo.

The transaction requires approval from OFAC, which has repeatedly extended the freeze on CITGO-related transactions. The State Department is now the main barrier blocking the sale, while Treasury, Commerce, and Energy favour letting it proceed. Ten days ago, OFAC issued General License 5W, extending the freeze on CITGO share transfers to June 19. A World Bank delegation visited Caracas last month. Everything suggests Delcy Rodríguez now feels compelled to show she can find a way to pay them back. That she has a plan.

In the meantime, Amber Energy is pressing daily for access to CITGO’s financial and operational details even though it is not formally in control, while CITGO itself cannot make major investment decisions or hire key personnel. A company valued at $13 billion is being run in slow motion, waiting for Washington to decide what Venezuela’s most valuable foreign asset is actually worth, to whom, and under what terms.

None of this happened overnight. The process was set in motion by Hugo Chávez when he went on a nationalisation spree that expropriated the assets of ConocoPhillips, ExxonMobil, Crystallex, and dozens of other foreign companies across the oil, mining, and manufacturing sectors. Those companies didn’t go home quietly. They went to arbitration. And they won.

The restructuring announcement tries to change the terms of the conversation. Venezuela is no longer being asked whether it will engage with its creditors. It has begun doing so. Centerview Partners is on the ground. A macroeconomic framework is due soon. The creditor committee, which includes GMO, Greylock Capital, Fidelity, and T. Rowe Price has been ready to negotiate since January.

ConocoPhillips has been explicit: recovering the billions owed from past expropriations takes priority over any new drilling.

An IMF programme, if it materialises, could signal credibility. It would serve as the anchor for the entire restructuring process. IMF conditionality establishes a debt sustainability framework that defines how much Venezuela can actually pay, which in turn defines what creditors can realistically expect. It also catalyses coordination. Rather than pursuing individual enforcement actions against Venezuelan assets, creditors have an incentive to wait for an orderly process. Without that anchor, the most aggressive litigants will extract preferential recoveries while others are left with worthless paper.

Delcy Rodríguez announced the restructuring without first securing that anchor. She has stated there are “no plans” to contract an IMF loan. The IMF, for its part, says it is willing to support a programme but requires clarity on economic data and external debt that Caracas has not yet provided. Very soon, we will find out whether Venezuela is building toward an IMF-anchored process or trying to engineer one without it.

Several of the companies owed the largest arbitration awards are well positioned to operate Venezuelan assets: ExxonMobil at Cerro Negro, ConocoPhillips at its former Petrozuata and Hamaca projects. ConocoPhillips has been explicit: recovering the billions owed from past expropriations takes priority over any new drilling. A negotiated settlement that converts arbitration claims into operational stakes, with revenue streams tied to production, would give creditors a return and Venezuela a rebuilt industry. The OFAC licensing architecture already enables this. Since January 2026, OFAC has issued or updated more than eight general licenses expanding authorised activity in Venezuela’s energy and financial sectors. Washington has built the tools, such as General License 58. The question is whether Venezuela can use them. 

What this push does not resolve is the harder question: whether Venezuela has the institutional capacity to negotiate on its own terms rather than simply accept whatever is offered. Woods’s shift from “uninvestable” to “positive” in four months signals appetite, not commitment. ExxonMobil wants its assets back or a return on its claims. So does ConocoPhillips. So does every creditor in the queue. The question is whether Venezuela can show up to this negotiation as a party with a strategy, not just a debtor with a problem.

The path forward requires exactly what fifteen years of chavismo didn’t build: legal capacity, a coherent negotiating strategy, and the institutional infrastructure to distinguish between claims that should be settled, claims that should be contested, and claims that might be converted into something more useful than a judgment. The latter could amount to an oil agreement like the one Chevron got in the early 2020s. Venezuela’s reformed Hydrocarbons Law allows international arbitration to resolve disputes in the oil and gas sector. So does the new Mining Law for gold and strategic minerals.

The framework now exists in writing. Whether Venezuela can implement it coherently, and whether it can hold up against the inevitable tension between Venezuelan law as established in the new statutes and US jurisdiction as required by OFAC licenses, are the open questions that will determine whether this moment becomes the start of something durable or another lost opportunity.

None of that sounds like glamorous policymaking. It doesn’t play well in a speech. But the alternative, continuing to treat international arbitration as someone else’s problem, has a documented price tag. It is measured in refineries.

CONVICTED murderer Mackenzie Shirilla showed tell-tale signs she was trying to force emotion during her arrest and in her bombshell Netflix interview, a body language expert has claimed.

Shirilla, 21, has been languishing behind bars in Ohio after being found guilty of murdering her boyfriend, Dominic Russo, and their friend, Davion Flanagan.

Her case has sent true crime fans into a tailspin after the success of the Netflix documentary, The Crash, in which she broke her silence and maintained her innocence.

Shirilla’s TikToks and Instagram posts have resurfaced, showing her regularly posing in the mirror, showing off designer clothing, and even smoking weed in her car.

Text messages revealed by police showed her toxic relationship with Dominic, her boyfriend of four years, whose family claims had tried more than once to break up with her.

She reportedly threatened to harm him during arguments before purposefully plowing into a brick wall while driving her Toyota Camry on July 31, 2022.

SICK TRYST

Mackenzie Shirilla’s prison video sex & NSFW threats exposed in new docs

Renowned body language expert Logan Portenier, host and creator of the popular YouTube channel Observe, spent hours breaking down her movements in dozens of social media clips and footage.

Here he gives The U.S. Sun his biggest takeaways from the case.

TikTok star

Shirilla was a social media-obsessed teen before the crash and shared daily posts on TikTok of her and Dom, both at home and out and about, as she was often the center of attention.

Reviewing one clip of them in the car together, Logan said, “He doesn’t seem to be as stoked for this video that she’s filming as she does.

“It didn’t seem as though they were quite on the same page emotionally.

“She’s doing her different poses and expressions for the sake of the video and for his side of things, he seems much more reserved and subdued.

“Because he’s not performing as much for the camera as she is, we’re seeing a fair bit of synchronization across the upper half of his face and the lower half of his face, which lets us know that anything that we’re kind of seeing on that is probably going to be forced. It’s performative.

“And he does, a little lackluster kind of asymmetrical smile on the bottom half of his face.”

Uncomfortable posing

In another clip from Shirilla’s TikTok, the couple is at home, and she is trying to get him to pose in a full-length mirror as he is seen hiding behind her.

“Mackenzie is doing a lot of the posing,” Logan said. “She’s hitting her different looks that she wants to do during this.

“In the background, you could see initially Dom’s nonverbal communication.

“He’s doing a self hug. You can see him holding both of his arms there.

“That is misconstrued in a lot of areas as exclusively defensive,” but Logan feels this is more about comfort.

“What I do find more interesting is that he does shift later on to holding both hands in front.

“So both of those clusters there, he has one in front and then he has his hands clasped in front like that. Both of those signal a level of discomfort.”

Logan added, “We’re seeing again this dichotomy between the two of them.

“He’s kind of there and he’s being present, albeit uncomfortable, reserved, and needing to do a little bit of self-soothing to be able to make it through.”

Distracted driving

Shirilla, who made no secret of being image-conscious before her arrest, frequently posed for TikTok videos — even when she should have been concentrating on the road.

In hindsight, clips showing her filming herself while driving are especially unsettling, given that two young men would later lose their lives in a crash while riding in a car with her behind the wheel.

“It’s very focused on the phone and what she appears like on it, hitting her specific facial expressions as well,” Logan said.

“And on those facial expressions, this helps us understand how she will behave and appear when she’s performing.

“There might be some of that lip pursing that we kind of see in there.

“There are some head tilts in there as well as she’s trying to be perceived in a very specific way, so that performative non-verbal communication comes in handy in future situations, because then you can keep an eye out for some of those patterns that may or may not show up in the future.”

Cuffed and anxious

Shirilla survived the crash and police launched an investigation, as evidence slowly proved it was not an accident and she recovered from multiple surgeries.

Fast-forward to November 2022, and Shirilla’s life blows up in smoke as she’s finally arrested and later charged with murder.

“I don’t know that she’s aware that there’s a camera pointed at her, that she’s going to be perceived in this area, and so what we’re going to be able to see is more of her unfiltered nonverbal communication,” Logan pointed out.

“And with this, she is feeling what would be considered in that vein of the universal emotion of sadness.

“There’s grief, there’s panic, and stress, everything that can go into that.

“What really gives it away is the action in her forehead area.

“What we’re seeing predominantly is unit one activation, which is the middle portion of your eyebrows when they go upward during genuine sadness and grief.

“You can see that happening symmetrically, but if it’s more performed, a lot of people will end up having light asymmetrical activation because it’s not genuine.”

Frozen with fear

In further footage of Shirilla in the back of a police car after her arrest, Logan said she appears frozen with fear despite not shedding a tear as she heads to the station.

“She has fairly relaxed eye positioning in general when she’s not panicked,” he said.

“And so this widening of her eyes, it indicates, genuinely, that she’s feeling anxious. This would be considered fear.”

Logan added that while Shirilla “might not be terrified, it would at least trigger as fear to the anxiety levels” as she rides in the police car.

“So we’re seeing both the combination of the grief across the upper half of her forehead and her eyes are showing the fear as well,” Logan said.

“Then when we get down to the rest of her face, some things that show more physiology rather than just physical movements, is a lot of the inflammation around her nose and upper lip,” which Logan claims “[lets] us know that this is coming from an authentic place.”

Putting on an act

Logan explained that emotional states have a profile, and things can usually shift after around four and a half seconds.

During the journey, Shirilla seems to relax, despite the situation that she’s in, and is seen rolling her head back and looking bored.

But as they approach the station, Logan feels she starts to perform as she realizes she should be more upset than she is if she’s not guilty of murder.

“When you’re watching somebody who’s performing, you’ll see a lot of crashes in between,” he told The U.S. Sun.

“So they’ll be emoting a specific way and then it’s almost like they remember like, ‘Oh, I should be sad right now.’ And then they’ll crash into sadness, something like that.

“You can see it start to kind of creep through the cracks of her rather reserved expression beforehand.”

This is where Logan returns to Shirilla’s “eyebrow activation.”

He claims Shirilla’s outer and inner eyebrows are working together at this point to show sadness, stress and anxiety.

Again, the corners of her nose are also activated, not in disgust, but trying to show she is upset, something he says he doesn’t often see.

Oscar-worthy performance

She is later seen sobbing during her trial before being locked up for 15 years to life on murder charges.

Shirilla starts to mix with people from different walks of life, and it’s years later when we see her sit down with film producers for her bombshell interview.

She is seen walking into the frame and sitting down at a table wearing her prison scrubs, her hair tied up in a large bun.

“The fact that she’s sitting down, crossing her arms, immediately lets us know that she’s probably feeling uncomfortable about what’s about to happen there and needs to block off and self-soothing a little bit,” Logan said.

Shirilla then activated her glabella – the smooth area of skin on her forehead located directly between the eyebrows and just above the bridge of her nose, Logan said.

He claims this was to give the impression she is empathetic, but instead of it being symmetrical, she delivered asymmetrical activation.

“Her right eyebrow does not have the same activation as her left eyebrow.

“Her left eyebrow is doing the exact same expression that we saw in the cruiser. Her right eyebrow is not.

“It’s an asymmetrical expression which lets us know this isn’t authentic empathy.

“This isn’t authentic pain or fear or grief that she’s feeling here. It’s forced.”

Logan said this was also visible further down the vein on the bottom half of her face.

She also began pursing her lips – something she would do in her performative TikTok videos, where she wanted to control how she was being perceived.

He said she is trying to convince the audience she is upset about the situation she is in, and victims’ deaths, but “her body is betraying her.”

“And then when we get to this specific interview she’s talking at a lower register, she has a little bit more husky to her voice,” he said.

“Some of the verbal tics that she uses as well have shifted. And my immediate thought was, this has to be something about the performance that she’s obviously performing.

“She wants people to feel a certain way. And so she shifted her tone, her speaking differently as well to perhaps support that.”

He feels not only her voice will have changed in prison, but her body language as she mixes with other inmates.

“I have no doubt in my mind that she’ll be adjusting her overall nonverbal behavior as well to better fit in and get to where she wants to be in that social circle as well,” he said.

To see the full interview with Logan, and other exclusive videos on Mackenzie Shirilla, visit our YouTube channel.

Comedian and “Saturday Night Live” standout Marcello Hernández will host this year’s ESPY Awards, ESPN announced Wednesday.

The event, honoring excellence in sports performance, will be broadcast live on ABC and the ESPN app from the David H. Koch Theater at Lincoln Center on July 15, making it the first ESPYs in New York City since 1999. For the last 25 years, the awards ceremony was held in Los Angeles.

“I started doing comedy 10 years ago, in Cleveland, Ohio, and I would take the train 12 hours to New York to sell comedy tickets on the street in Greenwich Village in exchange for stage time,” Hernández said in a statement. “It is an honor, and frankly feels crazy to be hosting the ESPYs this year in New York. I’m sure the energy is going to be great.”

Hernández recently headlined the biggest Spanish-language comedy show ever at the Hollywood Bowl as part of the Netflix Is a Joke Festival in May, and wrapped up his fourth season of “SNL” soon after. His first stand-up special, “American Boy,” premiered on Netflix in January.

He’s also a sports enthusiast, having grown up playing soccer and competing at the collegiate level during his time at John Carroll University in Ohio.

“Marcello is one of the most electric, young comedians today. His genuine enthusiasm for sports and his ties to New York City make him a natural fit to host this year’s ESPYs,” Craig Lazarus, ESPN vice president and executive producer of the ESPYs, said in a statement.

Hernández succeeds last year’s emcee, comedian Shane Gillis, as well as past hosts that include Jimmy Kimmel, John Cena, LeBron James and Peyton Manning.

In January, Puck reported that the change in venue is an effort to capitalize on the popularity of Fanatics Fest, the massive sports festival taking place in New York’s Javits Center from July 16-19, which also coincides with the World Cup final on July 19 at MetLife Stadium in New Jersey.

“This return to the heart of Manhattan brings the celebration of sports back to its roots for an unforgettable night at an iconic cultural landmark,” an ESPN spokesperson said in a statement.

The One Show has welcomed back one of its hosts after she was absent due to illness

One of the presenters on The One Show has returned to the sofa after taking time off ill.

Alex Jones is usually a staple on the BBC programme but was absent on Monday and Tuesday this week, with JB Gill stepping in and hosting alongside her regular co-presenter, Roman Kemp.

However, the TV star was back on Wednesday (June 3), fronting the show alongside Angellica Bell.

Alex’s return was confirmed on Instagram ahead of the show, with Angellica exclaiming: “Good news, everyone. Alex is back!”

“Are you feeling better?” she asked the presenter.

“I am,” replied Alex. “I am slightly croaky, but we’ll get through it,” she added.

As the show started, she told Angellica that she had “nearly recovered” after being unwell, adding: “Glad to be here.”

The pair then turned to announcing the guests who would be on the show – Dara Ó Briain and Shania Twain.

Alex has been hosting the BBC programme for several years, and is one of the show’s best known presenters. The star, who has three children with her husband Charlie, has been a presenter on the programme since 2010, hosting with stars such as Matt Baker, Ronan Keating and Roman.

Speaking last year, she told the BBC: “I feel incredibly proud to have been on the iconic sofa for all these years. It certainly doesn’t feel like 15 years, and it still feels fresh, as the show keeps evolving. I feel like we keep coming back better and better.

“I started as a young girl and I feel like I’ve grown up with our viewers. They have seen me through all my big life moments like getting engaged and married, to having children. Our viewers are like extended family by now!”

She went on: “I think the reason is it really strikes a chord with people because we sit right at the heart of the nation. Our job, essentially, is to reflect what’s going on. All the small daily bits and pieces, but also the big events that affect the country.”

The One Show airs at 7pm on BBC One on weekdays.

Channel 4 abruptly cancelled plans to reboot the popular competition series

Channel 4 fans have pleaded with bosses to bring back a show they say is “prime British TV.”

The savage reality competition series titled Four Weddings quickly became a huge hit with fans all thanks to its chaotic moment.

The show saw four brides-to-be attend and score each other’s weddings, awarding marks for dress, venue, entertainment and food in hopes of coming out on top and winning a luxury honeymoon.

As expected there were some rather uncomfortable scenes as some contestants were rather harsh with their scores or were clearly opting for shady tactics.

The series originally broadcast on Sky Living between 2009 and 2013. With the success of smash hit shows such as Married At First Sight, it sparked the interest of Channel 4 producers decade later, who planned to reboot the show.

The team behind Come Dine With Me, were expected to run the show and it was said that they would be introducing a big change to the news – the star prize would be switched from a holiday to a £50,000 cash prize.

Despite fans’ excitement at the time, the network abruptly cancelled the reboot just days before it was supposed to start production. No official reason was given for the sudden cancellation of the series.

There are no plans of the show making a return since it vanished from our screens, however TV fans have urged Channel 4 to consider a revival again following a nostalgic post on social media.

One fan commented: “This is prime British TV.” Another said: “We need this show back.” A third wrote: “This was peak UK reality. LOVED this show, so underrated.”

Another commented: “This was the best programme ever.” One fan said: “This was so savage.” One insisted: “This is the best show ever.”

Meanwhile another fan added: “I don’t know why they stopped this show, I would watch it over Corrie.”

It comes as a former bride, who appeared on the show previously opened up about how the show left her completely blindsided.

Linsie Abshire, who was 26 when she was crowned winner, revealed that her honeymoon prize came with one major thing she was completely unprepared for.

The bride took to Reddit and explained that while they were being sent to Tuscany for five nights, with dinner, a spa day, a wine and olive oil tasting, and a $1,000 gift card all paid for, the most significant expense was not covered.

Linsie wrote: “They do not pay for the plane tickets.” Her husband was naturally “kind of upset” because they had been under the impression that the entire trip would be paid for.

Los Angeles County’s half-cent sales tax to fund healthcare services was trailing Tuesday, with early returns showing a majority of voters rejecting the measure.

The tax — a half-penny of every dollar spent in the county — is meant to prop up local hospitals and clinics that are hemorrhaging funding after recent federal cuts.

The sales tax, which needs a simple majority to pass, would take effect Oct. 1 and last five years. Officials say it would pull in $1 billion annually to help plug the budget holes hitting local hospitals and clinics.

L.A. County health officials anticipate the One Big Beautiful Bill Act, signed into law by President Trump last summer, will slash more than $2 billion from the county’s health services budget within the next three years. Due to eligibility changes, the county will no longer be able to get reimbursements for many Californians who have lost Medi-Cal.

The measure was championed by a coalition of healthcare advocates called Restore Healthcare for Angelenos who warned that mass layoffs and emergency room closures could be imminent if new funding didn’t come fast. The Department of Public Health recently closed seven clinics — a grim sign, supporters said, of service cuts to come.

Voters haven’t rejected a sales tax hike since 2012, when a transportation measure fell just short with 66.1% support. It needed 66.7% to pass.

A majority of county supervisors had supported the new tax proposal, voting 4 to 1 this February to put it on the ballot. But the measure faced significant opposition from local cities, with opponents arguing the sales tax hike would unfairly burden the poorest county residents and encourage people to spend their dollars across the county line.

Supervisor Kathryn Barger, the board’s lone opponent of the tax, said she was concerned it was a “general” tax, meaning the money wouldn’t be earmarked for healthcare costs. Instead, she argued, politicians would have final say over how the money gets spent.

The supervisors have created a plan for spending the tax money, with the largest chunk of the money meant to cover the costs for patients without insurance. The measure also asked voters to sign off on a nine-member oversight committee.

The county currently has a base sales tax rate of 9.75%, and cities impose local taxes on top of that.

A swarm of drones lit up the evening sky near Taiwan’s Taipei 101 skyscraper in a dazzling display depicting a giant robot, a sports car, and Earth. The light show was part of Computex Taipei, one of Asia’s largest technology exhibitions.

An A-list actress has broken her silence on one of the most anticipated TV events of the next few years

One of the show’s A-list cast members has teased filming could start soon.

A critically acclaimed television drama watched by millions of fans globally will be returning for a third series, with fresh episodes anticipated to broadcast following an almost decade-long absence.

Big Little Lies first premiered on HBO in 2017, adapted from Liane Moriarty’s bestselling novel of the identical title and boasting Hollywood legends Reese Witherspoon, Laura Dern, Nicole Kidman, and Shailene Woodley amongst the cast.

A second series was swiftly commissioned and progressed the narrative with three-time Academy Award winner Meryl Streep joining the exceptional ensemble.

One IMDb user described it as “breathtaking” and “a masterpiece of art in every possible way”. Another audaciously declared: “It’s a big statement but this is possibly the best program on television, EVER!!”

Yet, despite the programme’s popularity and outstanding ratings, including an impressive 89 percent score on Rotten Tomatoes, there had been no developments regarding a third instalment until September last year, reports the Express.

The inaugural series tracked young single mum Jane Chapman (played by Woodley), who relocates to the coastal city of Monterey, California with her troubled son, Ziggy (Iain Armitage). She quickly becomes entangled in the turbulent lives of a circle of affluent women, whose picture-perfect existence is torn apart by a catastrophic incident at their local school.

The second series picks up immediately in the wake of the events, with the women desperately attempting to conceal a murder, yet the appearance of one of their mothers-in-law (Streep) places them under an extraordinary amount of pressure. There’s only so much they can endure before things begin to unravel.

Now, series regular Woodley has verified reports that a third season is currently in development, though viewers should anticipate significant changes when the story resumes.

“I mean, what I know about it is that supposedly it is happening. That is what I know,” she told Deadline.

Sky’s Ultimate TV bundle

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

Sky is giving away free subscriptions to Netflix, Disney+, HBO Max, Hayu and discovery+ to customers on the Ultimate TV bundle.

When pushed for further details, the actress enthused, “Oh my gosh. I love my girls. That’s what makes it so special. We’re each other’s people”.

A production schedule has yet to be confirmed, meaning Big Little Lies’ third series may not emerge until late-2027 or 2028.

Nevertheless, Woodley did verify that the new instalment will acknowledge the considerable gap between series, hinting that the likes of Armitage and Kathryn Newton, who played Madeline’s (Witherspoon) daughter Abigail, could make a comeback.

“We love each other and we’re here for each other and, also, it’s a blast to play these characters,” she continued.

“I’m really excited about the third season, and for the opportunity that might exist in exploring who these ladies are 10 years later. We’re all 10 years older. The children are all 10 years older.

“They’re not really children anymore and most of them are adults now. So the prospect of that is very cool.”

Big Little Lies is available to stream on Sky, NOW, and HBO Max.

As seen on screen in Disney’s hit show Rivals, this country home is just as beautiful in real life now that fans of the show can see it up close and personal

Rivals is back on our screens once again, and with it comes a growing intrigue into the beautiful setting, based predominantly in the UK’s Cotswolds, including this stunning manor.

Playing a huge part in the Disney Plus series is its countryside setting, with beautiful backdrops and unbelievable luxury homes all set within the fictional county of Rutshire.

One of those very settings is The Priory, the home belonging to Declan O’Hara in the show, a highly regarded Irish TV presenter and journalist. Although, in real life, it’s privately owned by an entirely different family and known as Chavenage House.

Set back within Tetbury, the home was up until recently under the helm of the chatelaine and matriarch for 67 years, Rona Lowsley-Williams. Rona sadly passed away in July 2025 and is much to thank for transforming the estate from a fading Edwardian household to a visitor attraction.

It stands proudly as an Elizabethan house, a Grade I listed building, built in 1576 by a man named Edward Stephens. Over time it has transformed with extensions done in the 17th, 19th and 20th centuries, looking rather different from its more humble beginnings but keeping with the original style and materials.

Filming

The house has been used as a prime filming location for a number of film and TV productions, not just for Rivals. Famous faces have graced its grounds over the last few decades, including the likes of Eddie Redmayne, Jamie Dornan and Aidan Turner.

A big example of this is the BBC’s Poldark, where Chavenage portrays the fictional house of Trenwith in the series. It also featured as Candleford Manor in the BBC’s Lark Rise to Candleford from 2008 while also appearing in The House of Eliott, Casualty and Dracula, to name a few.

Now, outside of its scheduled filming, the wonderful home is open for the public to see and explore a real-life set of their favourite show.

Visiting

According to its website, the opportunity to tour the house is limited and so allows for guests to make reservations prior to turning up, subject to availability, as it is a privately owned residence after all.

The cost of this unique attraction is £12 a head for adults with a minimum group size of 21 and £6 for children. If group tours aren’t available and an individual visit is wanted, the bespoke private tour will begin at £250.

A recent visitor claimed it’s unmissable, writing on TripAdvisor: “This privately owned manor is full of history and artefacts, and the owners are lovely people. What a treat to have a personal tour of this incredibly special place, built in the Elizabethan period. If you have seen Poldark, you will recognise many of the scenes filmed in this historic home.”

Another shared: “Wow. After visiting many beautiful estates and castles (Buscot and Highclere), I didn’t expect to be blown away. However beautiful they were, I enjoyed Chavenage House so much more.

“Primarily, because the host was personally invested – he is part of the Lowsley-Williams family that has been at home here since 1891 and takes great pride in personally giving the tour. This truly makes a difference; the personal stories, pride and detail makes it very intimate.”

You can find out more on chavenage.com.

Maybe you can use a laugh this morning. Maybe you’re still deep in your feelings, thinking about the “Hacks” series finale and that shot of Hannah Einbinder looking at Jean Smart on the dance floor, grief seeping into her eyes. Maybe you’re lamenting the chaos at our treasured national parks. Hell … maybe you took out a loan to buy a tomato over the weekend.

If you’re feeling down, Gary Oldman would like a word. And that word is: Hufflepuff.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few weeks as we navigate our way through Emmy season.

Digital cover story: The world according to Gary

(Jennifer McCord / For The Times)

Gary Oldman is a Hufflepuff.

Never mind that the 68-year-old actor, who played the rebellious, impulsive wizard Sirius Black in the Harry Potter film franchise, couldn’t tell you the difference between a Hufflepuff and, say, a Gryffindor.

When journalist Josh Horowitz reads a list of core personality qualities — loyalty, hard work, patience, fairness, dedication — and asks Oldman if that describes him, he nods his head.

You’re a Hufflepuff.

“I’m a Hufflepuff?” Oldman says, trying the word on for size. He likes it. “I’m a Hufflepuff!”

This video clip is a favorite of mine, one I could watch on a loop for the sheer delight Oldman takes in pronouncing the word Hufflepuff.

It’s easy to see why Oldman takes such pleasure in being a granddad these days, one of the things we talked about at length not long ago for an Envelope digital cover story. He can access his silly side with ease.

I asked Oldman about the upcoming HBO “Harry Potter” television series, a decade-spanning endeavor that will spend a season adapting each of J.K. Rowling’s seven fantasy books.

“I’ve seen a trailer for it, and I think it’s a great idea,” Oldman says. “They’re doing the whole book, which I love, because there were a lot of wonderful things, fabric and character detail, we had to lose for the sake of telling the story in two hours.”

Would Oldman be keen to don a distressed velvet overcoat again and participate in the reboot?

“I don’t think they want any of us from the movies contaminating or muddying the waters,” Oldman says, pleasantly. “Besides, I’m too old.”

But with AI, is anyone too old now? Oldman could drop into “Harry Potter and the Prisoner of Azkaban” and look like he hasn’t aged a day since the movie was released 22 years ago.

“I don’t know where we’re going with it because it seems to advance every week,” Oldman says. He ponders the advances made since Martin Scorsese used digital deaging in his 2019 film “The Irishman.”

“I think that was the least successful thing about it,” Oldman says of the technology, “and I’ve been a huge Martin Scorsese fan forever. Ultimately, I don’t know why they wanted to make [Robert] De Niro’s eyes blue.” He pauses, considering the change and why it bothered him. “I guess it’s a blue-eyed Irishman. If I had one negative takeaway, it would be that.”

Oldman prefers directors like Christopher Nolan, whom he worked with on the “Dark Knight” movies and “Oppenheimer,” who think technology should be used sparingly to enhance the storytelling.

“Otherwise it leaves me a bit cold,” he says. “You’re just looking at ones and zeroes.”

“I don’t want to be replaced entirely,” Oldman continues, shaking his head. “I don’t think anyone does.”

Read more coverage of ‘Slow Horses’

Matt Brown, who starred with his family in the Discovery reality television show “Alaskan Bush People,” was found dead in the Okanogan River in Washington state, law enforcement officials said Sunday.

Brown’s body was discovered Saturday by a group of private citizens who were conducting a search, the Okanogan County Sheriff’s Office said in a statement.

Brown’s brother, Bear Brown, said in a video posted Saturday on social media that fellow brother Noah had been with the search team, helped pull the body out of the river and identified him.

The official cause and manner of death is still to be determined by the coroner, the sheriff’s office said. But the Brown family believes Matt Brown died by suicide, Bear Brown said in the video.

Witnesses said they saw Matt Brown in or near the river and that he “took his own life,” Bear Brown said on social media.

“I would have never suspected he would hurt himself, honestly,” Bear Brown said in the emotional video. “He struggled for a long time.”

Bear Brown said his brother had battled with alcohol and drugs and that Matt Brown told him in their last conversation that he had “fallen off the wagon.”

The Brown family and their life in the Alaskan wilderness were the subject of the reality TV show “Alaskan Bush People,” which ran on the Discovery Channel from 2014 to 2022.

This article contains spoilers for the series finale of “Hacks.”

After five seasons and (thus far) 12 Emmys, “Hacks” has come to an end. The story of how Deborah Vance (Jean Smart), a 70-something comedian of the Joan Rivers type, and Ava Daniels (Hannah Einbinder), a prickly 20-something comedy writer, came together to resurrect both their careers was a roller coaster ride of intergenerational judgment, wins, setbacks, ruthless behavior, personal growth, power reclamation and much general hilarity.

Deborah sees Ava as entitled and self-righteous, Ava sees Deborah as washed-up and boring. Eventually, of course, they realize they are kindred spirits who do their best work together.

In Season 5, Deborah attempts yet another comeback. Having walked off her late-night show rather than fire Ava in Season 4, she is determined to rewrite her premature obituary by playing Madison Square Garden. When that too is snatched away, she pivots (with much difficulty and hilarity, including a show-stopping monologue by Laurie Metcalf’s tour manager Weed) to Central Park, where she is finally allowed a moment of glory, basking in the adulation of applauding thousands.

But that is not the end of “Hacks.” In the final episode, Deborah reveals she has cancer and rather than undergo treatment, she is choosing to “go out on top” with the aid of a Zurich clinic. She asks Ava to accompany her, after they take a girls trip to Paris. After an emotional meltdown, Ava agrees, hoping to persuade Deborah to change her mind. She does, but only after Deborah realizes that she cannot bear to walk away from the jokes she could write about dying. And so the show ends, with the two women walking arm in arm, first in Paris and then in Las Vegas, working on Deborah Vance’s final show.

Here, Times TV and culture critics Robert Lloyd and Mary McNamara discuss the ending, and legacy, of “Hacks.”

Deborah, left, decides she doesn’t want to get treatment for cancer despite Ava’s protests. Deborah changes her mind when she realizes she could write jokes about dying.

(HBO Max)

Mary McNamara: Hey there, Robert; are you as devastated as I am that we have no more “Hacks” to look forward to? The only solace I can find is the news that creators Lucia Aniello, Paul W. Downs and Jen Statsky are planning to release a DVD box set of the series. And the possibility that there could be a movie sequel — I for one want to see Deborah Vance’s death tour, especially since you know she’ll beat the odds and survive.

Seriously, though, sad as I am to contemplate life without “Hacks,” I am equally thrilled that the show so thoroughly stuck its landing. Finales are always a crap shoot and I appreciated how this season managed to show growth and cosmic justice while never tipping into treacle. I love that everyone ended on a win — including Marty! (Christopher McDonald) — and I didn’t even mind that suddenly Deborah had cancer (what?), was choosing assisted suicide (double what?) or that we were whisked to Paris (sure, I guess, why not?) because it made just enough narrative sense to set up Deborah’s decision to live because she just couldn’t leave good material on the table. “I may not have 30 years, but I do have one more hour,” may be the best line from a TV finale ever.

It is too easy to think of people like Deborah as clawing back their careers for fame, validation or money rather than a deep and essential love of their art. Having Deborah decide to prolong her life with chemo because she could not resist mining this final seam of comedic gold was a coup de grace.

What did you think?

Robert Lloyd: Hail, Mary. Reviewing the first-season finale, I wrote that the series was at heart a romantic comedy. And though many timely points were made along the way about artificial intelligence, the fate of late-night television and the awfulness of rich jerks who control media companies — Deborah’s Madison Square Garden show was undermined by the network head she named on national television in her resignation speech — the show asserted itself as a love story once again in the end. Where earlier seasons had depended on creating friction between Deborah and Ava, this one was mostly of concord, their only real clash being Deborah’s decision, introduced late in the season, to end her life (in a clean, posh way); her climactic change of heart spared us a medical tearjerker, but, believe me, I shed plenty of tears along the way. Unlike most seasons of “Hacks,” the fifth and final was orchestrated very much as a feel-good experience — “Ted Lasso” has nothing on it. A fairy tale, almost, as you point out, full of fairy-tale endings and plot points that were as good as magic. It could be contrived and improbable and old-fashioned in its triumphs snatched from the jaws of defeat, and I completely loved it.

Deborah Vance (Jean Smart) didn’t get the Madison Square Garden show she imagined, but she did get one at Central Park.

(HBO Max)

McNamara: The series had a lot to say about a lot of things (including vengeful power brokers/network executives) that feel particularly pointed now. But I deeply appreciated that while underlining the real obstacles Deborah and Ava faced, the writers showcased and explored how the bad choices each women had made, and defended, also contributed to their situations. Obviously having the great Jean Smart in the driver’s seat helped a lot — she revealed the woman beneath the diva even in Deborah’s most outrageous actions. The writers did not shy away from calling attention to the blatant sexism female comedians faced (and continue to face) or how the “woke” women of Ava’s generation are often able to see that kind of injustice more clearly.

It was, as you say, more rom-com than morality play, and rom-coms are often based on discovering that the differences that initially divide are too often based on, well, to put it in its original form, pride and prejudice. So while there was some hilarious and spot-on commentary about intergenerational miscommunication, there was also a clear message of how important it is for people with vastly different experiences to listen to, and learn from each other, which also feels incredibly important at this moment in time, especially given the show’s essential, and deeply human, respect for creative work. What motivated Deborah and Ava, and virtually every character in “Hacks” — agent Jimmy (Downs), his assistant Kayla (Megan Stalter) and later Randi (Robby Hoffman); Deborah’s staff, including Marcus (Carl Clemons Hopkins), Damien (Mark Indelicato) and Josefina (Rose Abdoo) — was a belief in the importance, and difficulty, of the creative process. It’s something that is rarely, if ever, the work of a single individual — as Deborah finally acknowledges at the opening of the Diva casino. Or as Laurie Metcalf’s Weed makes clear in her hilarious monologue before the Central Park gig.

1

2

1. Creativity isn’t the work of a single individual: Damien (Mark Indelicato), Marcus (Carl Clemons-Hopkins) and Deborah (Jean Smart) at work on the casino. (HBO Max) 2. Deborah’s crew at her Central Park show. (HBO Max)

Lloyd: In a way Deborah’s speech summed up what we’d already been seeing through an especially generous season that served as “Hacks’” tribute to itself and its people. It was a party to which most every significant and many minor characters were invited, including Metcalf and McDonald; Luenell as comedian Miss Loretta; Poppy Liu as Deborah’s personal blackjack dealer, Kiki; Jane Adams as Ava’s mother, Nina; J. Smith-Cameron as Deborah’s estranged sister, Kathy; and Kaitlin Olson as Deborah’s daughter, DJ, who finally got her mom to partner with her on “The Amazing Race” and was allowed to sell her detachable earrings on QVC.

Gifts were distributed widely, including a previously unseen interview with Deborah’s late husband and co-star, Frank (Peter Strauss), giving her credit for their success — credit he had previously accepted for himself — and thus removing a giant thorn that drove the early plot. These kind-hearted acts of closure were performed both for the benefit of these very real, made-up people, and for We the Viewers, who have made them our family. Declarations, or at least demonstrations of love, were abundant, not merely between Deborah and Ava, with the characters acting as our proxies, feeling what we want them to feel, and what we feel for them ourselves. (There are moments this year when Einbinder — whose brilliance Smart could seem to outshine, but who was never less than an equal partner — absolutely killed me, just in the tender way she gazed upon Deborah.) That’s why it’s so hard to let go of a show like this, even when we know it’s time to say goodbye. You can only stretch an arc so far before it breaks.

McNamara: You’re right, of course. But I still want to see the “Hacks” movie.

After a complete shakeup at CBS’ “60 Minutes,” ousted correspondent Cecilia Vega said she had been facing pressure to insert political bias into her stories and dealing with censorship.

“I very much fear what comes next for … the future of the legendary broadcast,” Vega said in a social media post on Thursday referring to “60 Minutes.”

Vega, who had worked at the newsmagazine for three years, was fired alongside the program’s executive producer, Tanya Simon, and fellow correspondent Sharyn Alfonsi, who notoriously clashed with CBS News Editor in Chief Bari Weiss over a segment on President Trump’s immigration policies.

The latest shakeup follows multiple controversial moves by Weiss, who’s set on remaking the institution long defined by tradition. She arrived at CBS News in October with no television experience, installed by Paramount Chief Executive David Ellison after he acquired her digital news outlet, the Free Press, with a mandate to change the network.

Ellison’s political intent has been brought into question as he owns CBS’ parent company. The billionaire and his father, Larry Ellison, built a friendly relationship with the Trump White House as Paramount’s acquisition of Warner Bros. Discovery still needs regulatory approval.

Ellison’s pronouncements that CBS News needs to move more to the political center has led to the perception that the network is trying to placate Trump with more positive news coverage, even as “60 Minutes” has remained tough with its White House reporting.

“Our responsibility is to preserve that legacy and vital mission by building a show that thrives in the 21st century,” wrote Weiss in her note to staff. “That requires a new approach: expanding ’60 Minutes’ beyond a one-hour television broadcast, deepening its role across CBS News.”

Vega claims, in her statement, that “in recent months, my producing teams and I have experienced efforts to insert political bias into our stories.” She also said that reporting teams are holding back on submitting specific story pitches, due to the “fear of the internal repercussions.”

“Let’s call this what it is: censorship, both imposed and self-driven,” Vega wrote. “It is dangerous for the show and dangerous for democracy.”

She said that in working at “60 Minutes” she’s had to keep stories rooted in fact and away from “questionable editorial suggestions.”

“I know from many conversations with colleagues that many producing teams and correspondents working on the show today have had to fight to maintain editorial independence with regularity,” Vega said. “I am far from the only ’60 Minutes’ correspondent who has asked herself, ‘What is my personal red line? How much can I push back before I pay the price?’”

In a statement, a CBS News representative said, “We respect Ms. Vega and her contributions, but her claims are not based in reality.”

Vega joined the newsmagazine in 2023, becoming the program’s first Latina correspondent. Before that, she worked for over a decade at ABC as the network’s chief White House correspondent and co-anchoring “Good Morning America.”

Several journalists like ABC’s John Quiñones and former Univision anchor Jorge Ramos offered words of support for Vega’s remarks. Quiñones commented, “Journalism is stronger because of your voice, your courage and your story-telling, Cecilia,” and Ramos wrote in Spanish that he respects and admires her.

What’s 2,030-feet long-by-167-feet wide and blue all over? If you guessed the Lincoln Memorial Reflecting Pool, you’re right!

Bonus points for triggering someone in your immediate orbit, because ever since President Trump announced his intention to apply blue paint to the basin of architect Henry Bacon’s 1923 pool, the mere mention of the project can make certain people’s heads explode. To wit, a lawsuit filed this month in district court by the Cultural Landscape Foundation and a former Park Service landscape architect, Charles Birnbaum, claims Trump’s actions have caused Birnbaum to suffer “aesthetic injury.”

The phrase might sound humorous at first read, but anyone who cares about art, architecture and the experience of shared public space knows there’s nothing funny about it. We’ve all felt the empty sorrow of staring into the abyss of a boxy Walmart superstore, and experienced a deep malaise of the soul when driving past an endless crush of fast food chains on the outskirts of a major metropolitan area.

It’s doubtful this sadness is shared by Trump, for whom an “aesthetic injury” might best be represented by a McDonald’s without its golden arches. Plus, our president clearly thinks a great deal of good will come from painting the reflecting pool at the center of the National Mall American Flag Blue.

Only a few days ago Trump posted what I can only assume was an AI-generated image of the final product on Truth Social. The blue in question is shockingly bright — like the sky over the Aegean Sea at noon on a cloudless day. That kind of blue can be breathtakingly beautiful, but in this case it swallows up everything around it, including the Lincoln Memorial and the Washington Monument, which it was built to reflect.

The blue pool, in other words, is the main event — and that is not what was intended by its creators. Indeed, Birnbaum’s lawsuit notes the value of various design choices including, “the grey, achromatic basin of the Reflecting Pool as the source of the pool’s profound reflective depth.”

The lawsuit continues, “The ongoing resurfacing of the basin in vivid blue has materially degraded Mr. Birnbaum’s aesthetic experience. Mr. Birnbaum’s aesthetic enjoyment of the Reflecting Pool — as a historic designed landscape whose character he has documented, championed, and personally appreciated over many years — is being concretely harmed by Defendants’ ongoing alteration of its character defining features.”

Many other critics and vocal members of the public have claimed similar harm resulting from the numerous renovations Trump is making in the nation’s Capitol — mostly without court approval or congressional oversight — including his demolition of the White House’s East Wing, his construction of a massive ballroom to replace it, the building of a towering triumphal arch, and the creation of a Hero’s Garden in a public park space along the Potomac river.

Painting the Reflecting Pool American Flag Blue may not be the most intrusive of these impulsive, self-aggrandizing acts, but it was the pigment that broke the camel’s back.

I’m Arts editor Jessica Gelt, in blue. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Gustavo Dudamel conducting the 2025-26 season opener at Walt Disney Concert Hall on September 25.

(Timothy Norris/Los Angeles Philharmonic)

Gustavo Dudamel and the Los Angeles Philharmonic
The departing maestro and his colleagues are in the homestretch and it’s a busy one. This weekend, there are performances of world premieres of Roberto Sierra’s “Estudios Sinfónicos” (Friday and Sunday) and Angélica Negrón’s “Mundillo (Little World)” (Saturday, featuring YoYo Ma). Both new works are paired with Richard Strauss’ “Ein Heldenleben, Op. 40.” On Thursday, Dudamel celebrates the musicians of the L.A. Phil with an eclectic program including compositions by Rossini, Paganini, Mozart, Mendelssohn, Tchaikovsky and Philip Glass, plus the world premieres of “Bravo Gustavo!” by John Williams and Gabriela Ortiz’s “Mujer Arena.”
Strauss, 11 a.m. Friday; 2 p.m. Sunday; Yo-Yo Ma, 8 p.m. Saturday; Celebrating the Musicians of the L.A. Phil, 8 p.m. Thursday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Grangeville
A 2025 drama by the bard of Idaho, Samuel D. Hunter, the play considers the complex relationship of two half-brothers connecting virtually to discuss the care of their ailing mother. Tim Cummings and Jeff LeBeau star. Directed by John Perrin Flynn.
Through July 12. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica. ruskingrouptheatre.com

How to Have Sex Again
The Rebel & the Warrior, a new theater producing collective, present their first L.A. production, the world premiere of a romantic comedy by Louis Reyes McWilliams.
8 p.m. Friday, Saturday, Sunday ; 7:30 p.m. Thursday; 8 p.m. June 5; 3 and 8 p.m. June 6; and 7:30 p.m. June 7. June Odyssey Theatre, 2055 S. Sepulveda Blvd. sanguinenyc.com

Jodie Landau
The composer-performer presents the West Coast premiere of “Performance of Self,” combining memoir, concert, cabaret with original chamber rock compositions, backed by a six-piece ensemble. Directed by Diana Wyenn. Part of OperaFest LA.
8 p.m. Friday and Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Let’s Get It On: The Wearable Art of Betye Saar
The exhibition highlights the role of costume design in the artist’s life and work, including more than 200 objects, including photographs, drawings, garments, jewelry, artworks and historical materials from the 1950s-1970s.
Opening reception, 5-7 p.m. Friday; exhibition continues through Aug. 22. Roberts Projects, 442 S. La Brea Ave. robertsprojectsla.com

Shelley Conducts America @ 250
Pacific Symphony concludes its season with incoming new music director Alexander Shelley conducting the premiere of Peter Boyer’s “American Mosaic,” with accompanying video imagery by award-winning photographer Joe Sohm.
8 p.m. Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa. pacificsymphony.org

Leslie Uggams in 1972’s ‘Black Girl.’

(UCLA Film & Television Archive)

UCLA Festival of Preservation
“Don’t miss your chance to see these rarely screened films on the big screen where they belong,” writes former Times movie critic Kenneth Turan in his preview of the event. The 22nd festival, which opens with Ossie Davis’ 1972 drama “Black Girl,” presents 11 feature films, four television programs and 30 short works, cartoons and newsreels, all newly preserved and restored by the UCLA Film & Television Archive and its partners and funders.
Through Sunday. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu

SATURDAY

Actor Alec Baldwin will narrate “Lincoln’s Portrait,” part of Pasadena Symphony’s America @ 250 concert.

(Pasadena Symphony)

America @ 250
The Pasadena Symphony’s season ending concert, celebrating the nation’s sesquicentennial, includes John Williams’ “Liberty Fanfare,” George Gershwin’s “Concerto in F for Piano and Orchestra,” and Aaron Copland‘s “Appalachian Spring” Suite and “Lincoln Portrait,” the latter narrated by actor Alec Baldwin.
2 and 8 p.m. Ambassador Auditorium, 131 S. St. John Ave., Pasadena. pasadenasymphony-pops.org

Baroque in Bloom
Soprano Amanda Forsythe joins the Los Angeles Chamber Orchestra for arias from Handel’s “Giulio Cesare” and Bach’s “Wedding Cantata.” The program also includes LACO’s principal bassoon Andrew Brady performing “Vivaldi’s Concerto for Bassoon in A minor, RV 497,” Telemann’s “Don Quixote Suite” and Biber’s “Battalia.”
7:30 p.m. Saturday. Rothenberg Hall, the Huntington, 1151 Oxford Road, San Marino; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

From Hell to Hollywood: Films Music’s First Golden Age and the Émigré Community
The Scott Dunn Orchestra performs the music of Arnold Schoenberg, Max Steiner, Erich Wolfgang Korngold, Franz Waxman, Dimitri Tiomkin, Bronisław Kaper, Kurt Weill, Ernest Gold and Miklós Rózsa.
7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Life, Liberty, and Los Angeles
Through historical and contemporary objects, media, art and community collaborations, the exhibition brings together stories of diverse Angelenos and demonstrates the ways their hopes and dreams built the city while reflecting the values of a burgeoning nation.
Opening May 30-Jan. 31. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org

Sydney Mancasola as Pamina in LA Opera’s 2026 presentation of “The Magic Flute.”

(Cory Weaver)

The Magic Flute
LA Opera music director James Conlon’s final production will be Wolfgang Amadeus Mozart’s fan favorite about a prince, a princess and an enchanted instrument. Starring Miles Mykkanen in his LA Opera debut as Prince Tamino, Sydney Mancasola as Princess Pamina, Kyle Miller as the sidekick Papageno, Aigul Khismatullina as Queen of the Night and Kwangchul Youn and Sarastro.
Through June 21 Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

The Satie Project
The artists of Piano Spheres perform the complete four-hand works of French composer and pianist Erik Satie, plus seven newly-commissioned response pieces, alongside the experimental puppetry David Gordezky in what promises to be a truly zany show.
8 p.m. Saturday; 2 p.m. Sunday. Boston Court Pasadena. 70 N. Mentor Ave., Pasadena. bostoncourtpasadena.org

SUNDAY

Bleak Week: The Cinema of Despair
Isabelle Huppert, Ari Aster, Denis Villeneuve, Werner Herzog and many others are the scheduled guests for the fifth edition of the global festival. The L.A. festivities, featuring 48 films from 18 countries, start with Béla Tarr’s 1994 film “Sátántangó” (2 p.m. Sunday at the Aero).
Through June 7. Aero Theatre, 1328 Montana Ave., Santa Monica; Egyptian Theatre, 6712 Hollywood Blvd.; Los Feliz Theatre, 1822 N Vermont Ave. americancinematheque.com

Exhibition photography for “Marilyn Monroe: Hollywood Icon” at the the Academy Museum of Motion Pictures in Los Angeles.

(Emily Shur / Academy Museum Foundation)

Marilyn Monroe: Hollywood Icon
A reevaluation of the actor’s artistry and image-making, the exhibition presents hundreds of original objects, including posters, portraits, photographs, production documents, letters, and rarely seen personal materials. A companion screening series also kicks off this week. Times culture critic Mary McNamara attended the opening and wrote about the enduring mystery that still surrounds the life and legacy of the film star 100 years after her birth.
“Gentleman Prefer Blondes,” 6:30 p.m. Sunday; “The Asphalt Jungle,” 7:30 p.m. Monday, with guests author and filmmaker Mark A. Fortin, actor Jack Huston, author, filmmaker and actor Joshua John Miller, and journalist Nancy Jo Sales; “Niagara,” 8 p.m. Wednesday; and “All About Eve,” 7:30 p.m. Thursday, with guest Vanity Fair contributing editor Lorraine Nicholson. Screening series runs through July 3; exhibition continues through Feb. 28. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Museums of the Arroyo Day
The theme is “Life in the Past Lane” as five local institutions celebrate Arroyo Culture with a day of free admission.
Noon-4 p.m. The Gamble House, 4 Westmoreland Place, Pasadena; Heritage Square, 3510 Pasadena Ave., L.A.; Los Angeles Police Museum, 6045 York Blvd., L.A.; Lummis Home, 200 E. Avenue 43, L.A.; Pasadena Museum of History, 470 W. Walnut St., Pasadena. museumsofthearroyo.com

Now Be Here’s first photograph in Los Angeles, 2016, Hauser & Wirth DTLA.

(Isabel Avila & Carrie Yury, courtesy of Kim Schoenstadt, Now Be Here)

Now Be Here: 2026 Los Angeles Anniversary
A decade ago, the organization launched as a means to “give visibility to women and non-binary artists, bringing equity to the art world,” and was commemorated by the above group photo. To mark the moment, Now Be Here and OXY ARTS present a free day of events (including a new community photo) open to all on the Occidental College campus.
9 a.m.-3 p.m. Occidental College, 1600 Campus Road. oxyarts.oxy.edu/events

Tierra
Craft Contemporary’s 4th Clay Biennial focuses on the work of Latinx, Indigenous and Black artists, emphasizing their deep connections to the geographies that yield the materials they work with. Also opening this week is “Earthen Comforts: Airing Earth,” a courtyard installation led by architect Liz Gálvez, the latest partnership in the ongoing experimental architectural project curated by M&A (Materials & Applications).
Sunday-Oct. 25. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org

TUESDAY

The Sun Rises in Harlem: Black Brilliance and the Harlem Renaissance
The performing arts collaborative MUSE/IQUE, led by artistic and music director Rachael Worby, pays tribute to this transformative era in American arts featuring the music of jazz greats such as Duke Ellington, Cab Calloway and Bessie Smith. With Kecia Lewis, Sy Smith, Leo Manzari, DC6 Singers Collective and the MUSE/IQUE Orchestra.
7:30 p.m. Tuesday-Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 and 7:30 p.m. June 7. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. muse-ique.com

WEDNESDAY

Colburn Celebrity Recital: Joshua Bell/Jeremy Denk
Frequent collaborators, the acclaimed violinist and pianist perform works by Schubert, Grieg, Ives, Ysaÿe and Ravel in their first joint appearance at Disney Hall since 2010.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

THURSDAY

Bodytraffic
The contemporary dance troupe closes out a 20-year run with its final three hometown shows, including works by choreographers Fernando Magadan, Cayetano Soto, Joan Rodriguez, Richard Siegal and Trey McIntyre.
7:30 p.m. Thursday and June 4; 2 p.m. June 6; the Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Arturo Sandoval
The legendary trumpeter and bandleader, a protégé of jazz great Dizzy Gillespie, performs an eight-show residency at the Blue Note.
7 and 9:30 p.m., Thursday-June 7. Blue Note LA, 6372 W. Sunset Blvd. bluenotejazz.com

Spectacular Balanchine!
American Contemporary Ballet continues its deep dive into the master choreographer’s work with dances from “Who Cares?,” “Stars and Stripes,” “Western Symphony” and “Union Jack” to music by George Gershwin, John Philip Sousa and Hershey Kay.
8 p.m. Thursday-Saturday, through June 20. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com

Arts anywhere

New and recent releases of arts-related media.

The book jacket for “Miles: The Autobiography.”

(Simon & Schuster)

Miles: The Autobiography
May 26 would have been jazz legend Miles Davis’ 100th birthday and Simon & Schuster has released a centennial edition of his award-winning 1989 memoir, in which he reflects on his career, relationships and battles with racism and addiction. Also check out filmmaker Stanley Nelson’s 2020 documentary, “Miles Davis: The Birth of Cool,” featuring studio outtakes from Davis’ recording sessions, rare photos and interviews with Quincy Jones, Carlos Santana, Clive Davis, Wayne Shorter, Ron Carter, Davis’s family and other notables.
Simon & Schuster: 448 pages, $23; “Miles Davis: Birth of the Cool,” streaming on PBS platform.

— Kevin Crust

Culture news and the SoCal scene

Daniel Harding, Los Angeles Philharmonic’s new music director, visited In-N-Out among other iconic L.A. locations upon his arrival Tuesday.

(Kayla Bartkowski / Los Angeles Times)

The big news of the week was the long-awaited, much-speculated-upon announcement of who will become the next music director of the Los Angeles Philharmonic when Gustavo Dudamel departs later this summer to take his new role at the New York Philharmonic. Surprise (or rather not too much of a surprise depending on who you are and how closely you were watching), the L.A. Phil’s 12th music director will be Daniel Harding, a 50-year-old, Oxford-born conductor and part-time Air France pilot who made his U.S. debut as a young prodigy conducting the L.A. Phil at the 1997 Ojai Festival, writes Times classical music critic Mark Swed.

Gustavo Dudamel, the current Los Angeles Philharmonic music director, left, hugs newly announced L.A. Phil music director Daniel Harding, right, at Dodger Stadium.

(Kayla Bartkowski / Los Angeles Times)

The Times scored an exclusive ride-along with Harding the day after the L.A. Phil’s big announcement. His day included stops at In-N-Out Burger, the Beckmen YOLA Center and the Hollywood Bowl. The evening was spent at a Dodgers game with Dudamel where the two sported matching jerseys emblazoned with their names.

Artist Diana Thater’s new video projection at LACMA’s David Geffen Galleries will debut in the fall.

(Carlin Stiehl / For The Times)

We also got a first look at a new video installation scheduled to light up the underside of LACMA’s new David Geffen Galleries where it forms a bridge over Wilshire Boulevard. Designed by artist Diana Thater, the installation was filmed in Claude Monet’s garden in Giverny, France, and will officially debut in the fall, after which it will run from dusk to dawn, 365 days per year.

Times contributor Jane Horowitz sat down with photographer Catherine Opie to chronicle a moment in time that finds Opie experiencing “one of the most visible stretches of her career, with work appearing simultaneously across Europe and Los Angeles. This includes a career-spanning survey at London’s National Portrait Gallery that will travel to Edinburgh’s Royal Scottish Academy, as well as exhibitions in Kassel, Germany, and Trondheim, Norway. Closer to home, a new exhibit, ‘Holding Blue,’ opens May 28 at Regen Projects.”

Alicia Keys’ musical “Hell’s Kitchen” staged its L.A. premiere at the Hollywood Pantages Theatre.

(Quinn Murphy)

Alicia Keys’ musical “Hell’s Kitchen” made its L.A. debut at the Hollywood Pantages Theatre this week, and Times intern Katie Simons chatted with Keys to get at why this particular moment means so much to her. “We spent 13 years developing this piece,” Keys said. “I believe in this deeply. I stand behind it. I stand for it.”

Swed also wrote a review of the L.A. Phil’s performance of Wagner’s “Die Walküre,” which represented Dudamel’s last grand project with the orchestra, and featured sets designed by Frank Gehry before he died, including paper-sculpture clouds and galloping Valkyrie horses, as well as a fanciful organ-pipe tree.

— Jessica Gelt

And last but not least

You know you want to read this interview with Barry Manilow by Times music critic Mikael Wood. Trust me, everyone else is.

Penny Smith was one of the familiar faces of ITV’s GMTV alongside Lorraine Kelly and Eamonn Holmes, but left the show in 2010

TV icon Penny Smith made a triumphant return to daytime telly.

The popular presenter was famous for her role on GMTV and joined as the main newsreader in April 1993 and remained on the show until June 2010.

The star – who worked alongside Eamonn Holmes, Lorraine Kelly and John Stapleton among others – was treated to clips of her best bits on her final day in the studio.

She was also reunited with Curtis Stigers, her former partner from BBC’s singing show Just The Two of Us, who serenaded her with his hit You’re All That Matters To Me.

Now, 67-year-old Penny has made a comeback on another daytime show when she landed a slot as a roving reporter on BBC’s Morning Live on Friday, May 29 – and fans were delighted to see her return.

Penny presented a special segment investigating the chaos faced by tourists caught up in the EU’s new fingerprint scanner during the show which was hosted by Gethin Jones and Michelle Ackerley, reports the Daily Mail.

Penny was out on the ground at Manchester chatting to people travelling through the airport while also meeting up with a young woman who missed her flight due to the chaos.

She then tried a number of different substances on her hands, from water to moisturiser and an alcohol wipe, to see how it impacted the results on the fingerprint scanner. All produced different results.

Penny’s return to daytime television was welcomed by viewers who took to social media to express their delight.

One said: ‘Can we please see more of Penny Smith on Morning Live?’ while another said: ‘Great to see Penny Smith back on TV’.

Penny began her career as a reporter and feature writer on the Peterborough Evening Telegraph in 1977.

Penny later helped launch Sky News in February 1989, and four years later she joined GMTV, where she stayed until 4 June 2010.

She has since hosted several radio shows, including the weekday breakfast show on BBC London, Talk Radio, and Magic Classical.

Elsewhere, she has appeared on Have I Got News for You, Just the Two of Us, and Never Mind the Buzzcocks.

Last year, she reunited with former GMTV co-star Eamonn during a short stint on GB News. At the time, Eamonn said: “I’m delighted to be working with Penny again after all these years.”

Morning Live is on BBC One weekdays at 9.30am and BBC iPlayer

All six episodes are available to binge in one go via Channel 4’s catch-up service after the series premiere this week

A brand new Channel 4 comedy series premiered last night and audiences are split.

Surreal six-part sitcom Make That Movie aired its first two episodes on Channel 4 on Thursday evening (May 28) with the entire series also made available to binge in one go on the broadcaster’s catch-up service.

The mockumentary follows a director named Sam (portrayed by Australian comedian Sam Campbell) who scours the UK in search of weird and wonderful ideas for feature films from the general public. He and his team then bring the ideas to life in just three days, though the quality of the finished product is always slightly questionable.

The official synopsis reads: “Hotshot director Sam and his elite team of filmmakers race against the clock to turn ordinary people’s extraordinary, chaotic and surreal ideas into hit movies.”

Alongside show creator Sam, who plays an exaggerated version of himself, the cast also includes Michell and Webb Are Not Helping’s Lara Ricote as runner Jess, and Am I Being Unreasonable’s Helen Bauer, cast as sound engineer Pat. Meanwhile, Aaron Chen (Fisk) takes on the part of intimacy coordinator Sebastian, and This Country’s David Hargreaves assumes the role of cinematographer Winnie.

In the wake of its release, reviews have ranged greatly with some declaring it the best thing on TV and others calling it the worst, something Sam had been wary of. He admitted in a chat with Metro: “It’s really hard making a show. It’s better to watch a show,” adding: “There’s a big, serious threat of it being t**d of the year.”

Professional critics appeared to enjoy the series, with The Guardian calling it “the funniest TV show of the entire year” in their five-star review. Meanwhile The Times offered it a more meagre three stars, branding it “just so weird.”

While it is still lacking a Rotten Tomatoes rating, viewers at home that dove straight into it have been vocal with their thoughts. One disgruntled viewer commented: “That make that movie programme with Sam Campbell is absolutely HORRIFICCCCCCCC.”

“A few episodes in on #MakeThatMovie (love Sam Campbell) and while it’s genius to cast Aaron Chen in roles such as intimacy coordinator and stunt coordinator, he just feels very underused,” another remarked.

A third urged “everyone watch Make That Movie by Sam Campbell,” while a fourth was unsure, commenting: “Hmm… Sam Campbell is great at spontaneous weird ideas but I’m not sure it works so well committed to a script… And Sam won’t be winning any Oscars for his acting.”

Make That Movie is available to stream via Channel 4’s catch-up service.

In this week’s episode of The Envelope podcast, we kick off Emmy season with Carrie Preston, who plays an offbeat investigator in Robert and Michelle King’s “Columbo”-inspired comedy “Elsbeth.”

Kelvin Washington: Welcome back to The Envelope. I’m Kelvin Washington, alongside the usual suspects, Yvonne Villarreal, also Mark Olsen. It’s good to have you all here. Everybody doing well?

Mark Olsen: Yeah, I’m doing great.

Yvonne Villarreal: Good to see you.

Washington: Well, first of all, I didn’t get the green [wardrobe] memo. It’s OK. Leave me out.

Villarreal: I’m trying to blend in with the chair.

Olsen: That’s why you pop

Villarreal: You do pop.

Washington: Well, you took what I was going to say. You don’t blend in. You always stand out.

Villarreal: Thank you.

Washington: That’s true. All right, so we’re kicking off Emmy season in here. And there’s obviously a million different things to have seen. We’ll start it off with Yvonne — I’ll go to you. What have you seen? Give me a couple of things that stand out to you that you’re enjoying.

Villarreal: Look, I’m always gonna mention “The Pitt.” Season 2 really captivated me. Also, there’s “Pluribus.” Can never go wrong with Rhea Seehorn. Also, one that — surprisingly for me, just given the subject matter — I really enjoyed this season, is “The Testaments.” And I think it’s because of, you know, the young cast and feeling that sense of hope that these young teenage girls are gonna get us out of this. Those are my picks so far.

Washington: Did you say that we need that?

Villarreal: We do need that.

Washington: OK, I just wanted to make sure.

Villarreal: I won’t mention reality TV, because I know it makes Mark a little…

Washington: Let’s make him a little squirmy.

Olsen: Maybe one of these days, I’ll try!

Villarreal: “One of these days”?

Washington: Twenty-five years into it.

Villarreal: “Real Housewives of Rhode Island” is all I’m going to say. I’ll just leave it there.

Olsen: Rhode Island?

Villarreal: Rhode Island.

Washington: Mark, I’ll go to you next, but just to your point there, Yvonne, I haven’t seen much of it, but I did have some guests at the morning show that I anchor from “Love on the Spectrum.”

Villarreal: Oh yeah.

Washington: Folks love that show. I mean, when I tell you that we had a couple of the guests come in and they’re walking around, people were screaming, “Can I get their picture?” So you’re talking about reality TV, just that, that’s a big one there.

Villarreal: They’re stars. And hearing who’s broken up already. I won’t spoil it, because you should watch that one.

Olsen: Wait a minute, how do people on your morning show rate “The Morning Show”?

Washington: Oh, that’s a good question. Some of the [story] lines or the feel hits a little too real, too close to home at times, that’s for sure. But I think it’s run its course a little bit as far as the watercooler [chatter] around the job a little. You know, it’s had some seasons here. But there are some things that, you know, some us look at each other like, “Clearly someone in the business is on there writing that show because that was too close to home.”

Villarreal: Lots of conniving.

Washington: But that’s all sensationalized. We’re just an ordinary morning show. None of that going on.

Villarreal: There’s no Billy Crudups out there.

Washington: Watch how I turn over here to Mark and we switch subjects. What about you, Mark? What are you watching? What do you enjoy?

Olsen: You know, it’s funny, I find as we’re in sort of like post-peak TV, I definitely find that I’m liking my TV to just feel like TV. And so I definitely like the Bill Lawrence universe, [that] kind of comfort watch — the new show “Rooster” with Steve Carell and Danielle Deadwyler, who’s just like so charming, so good on that show. I have really grown to like that show. I really enjoy the week-to-week. Even as I’ve maybe fallen off with some of his other shows, it’s funny how he’s always giving you a new show, like, “Oh I like this one!” And again [with] the week-to-week, “Oh it’s my day to watch ‘Your Friends and Neighbors’! Let me see what my good friends Jon Hamm and Olivia Munn are all up to.”

Washington: Are your neighbors like that?

Olsen: I have not had any disputes over dogs with my neighbors, no.

Washington: By the way, have you been, you mentioned Steve Carell, like he’s in his ‘zaddy’ era. It’s amazing what a beard does for a lot of people. No one ever necessarily thought of him as a heartthrob and all of a sudden I’ve heard, I’ve seen some things on Threads or whatnot, and they’re like, “Oh girl, I didn’t know Steve Carell…”

Villarreal: Some of us have known all along, OK?

Washington: I digress.

You guys mentioned a couple for me. “The Pitt” is unexpected — I was going to say every episode, really every 10 minutes. So that’s always a wild ride. And in “Paradise,” the shift from the previous season for me, because, you know, it’s not that I’m spoiling it, but just the shift into the outside and prior to, that dynamic to me was interesting. Almost like two different shows between Season 1 and Season 2. That for me is interesting to see how folks do and Sterling K. Brown, where’s he in all of this? So those are the ones that I’m looking at there.

I swing to you, [Yvonne]. You had a chance to speak with Carrie Preston, of course, in “Elsbeth.” Kind of a “Columbo”-style of a show, if you will. Tell us a little bit more about that.

Villarreal: This is the thing. We should never discount what’s happening on broadcast TV.

Washington: Good point.

Villarreal: “Elsbeth” is one of those shows that is so compelling. It really expanded, Robert and Michelle King’s “Good Wife” universe. They’ve had the spin-off, “The Good Fight,” and “Elsbeth” is in that universe, but it feels totally different. It’s this comedy procedural that follows Elsbeth, who we were introduced to as this eccentric lawyer, and in “Elsbeth” she’s moved from Chicago to New York as this NYPD consultant and de facto detective. And she has these really unconventional, unorthodox, eccentric methods to solving cases. And it’s really fun to watch and it was really fun to have this conversation with her.

Washington: All right, well, let’s get into it. Here’s Yvonne and Carrie now.

Carrie Preston, star of CBS’ “Columbo”-esque hit “Elsbeth.”

(Christina House / Los Angeles Times)

Yvonne Villarreal: I’m always very eager to talk about this character that I’ve spent 15 years tracking. You made your debut as Elsbeth Tascioni in “The Good Wife,” and she leaves a memorable impression early on, with just three minutes [of screen time]. I did time it. What do you remember about the call about this character and what [creators Robert and Michelle King] told you about who she was?

Carrie Preston: They had offered me the role, and I was working on some other things and I had just dyed my hair red, but they didn’t know this yet. And so they all knew me as a blond and I thought, “Oh my gosh, I hope they’re going to be OK with this character being a redhead because in their minds I’m not that.”

But [Robert] called and he said, “We’re thinking about this character like a female Columbo.” I didn’t really watch a lot of “Columbo,” but I understood what he meant, which was, this is a person who is going to be coming at things in an unexpected and unorthodox way and people are going to underestimate her. I took that to heart. But nonetheless, I was going in as a guest. As a guest, you’re going into somebody else’s house, you wanna follow their rules, you don’t wanna jump in their pool and start swimming around without asking permission. So I was a little tentative with it, but I took myself to the set before we started shooting just to show them, “This is what I look like now, are we still good? Because I can’t change the hair right now ’cause I’m doing this other thing.” Luckily, they were like, “Oh I think that actually works really well for the character.” And little did I know, I was gonna then be the redheaded actor for a good 16 years now, or whatever it is. I look back at that time, I was just finding my way with this character and figuring out, “How can I make her something different but not too different that I don’t fit in with the world of the show and the landscape of that universe?” And so looking back, you can see how I was tiptoeing around and it took a little moment before they really let me just let what my instincts were telling me to do, fly.

Villarreal: Because you knew she would be coming back in some capacity.

Preston: I didn’t know. I did two episodes at the end of their first season. Did not get a call at all in Season 2. And I thought, “OK, well, I guess I was a little too weird or I wasn’t really what they were thinking.” You kind of start talking to yourself and then you go, “I can’t read their minds. I’m just gonna keep doing what I’m doing.” And that was a really fun time. Then they called in Season 3 and that was when they said, “OK, we’re gonna do a little arc; we want this to flesh this character out.”

Villarreal: She went on to appear in many episodes of “The Good Wife” and also [its spin-off] “The Good Fight.” Then they have the idea during the pandemic of, “We want to do a show centered around Elsbeth.” And I imagine that’s a thrilling call to get, just like that first call that you received. As an actor in this sort of fickle industry, where you’ve put in the time, when you get a call like that from these prolific TV producers that are really respected, and they say, “We see you as being able to lead a network series.” How do you wrap your brain around that?

Preston: It was kind of a slow buildup to that because even when I was doing “The Good Wife, “ at the end of that series they were talking about, “How can we spin off the show?” And some people like yourself and people who are in the industry, fans, et cetera, were saying, “Why don’t you spin it off with Elsbeth Tascioni?” And Robert King reached out and said, “Would you be interested in this?” And so I said, “Of course, I would do anything to be be doing that.” Then I heard they’re doing this spin-off and it’s starring Christine Baranski and Rose Leslie and Cush Jumbo — pretty much everybody but me. And I was like, “OK, well, I guess that’s what they’re gonna do.” But I did reach out again and said, “I’d love to be a part of this.” And they said, “Yes, we’re definitely gonna bring you on and have you continue as a guest.” I went and did other things. I did “Claws.” I had already been working on “True Blood.” So I was doing all these other shows and thinking, “OK, I guess this is their spin-off. I’ll just be a guest again, and that’ll be that.”

And again, people would keep calling and saying, “Hey, what if you did a spin-off of the spin-off?” And still I dared not dream. It really wasn’t until 2020 that it felt like it was more plausible, possible. They were coming to the end of “The Good Fight.” They had this idea. And it seemed like a good one, and it seemed like a good business model, frankly, to have Elsbeth Tascioni, maybe one or two other series regulars, and then bring in all these amazing guests. It still took another three years before we actually did a pilot that, then, got picked up. So it was just these many, many steps before we actually got to this. So each time, I tried not to hold on to that dream too much, but at the same time, treasure every moment, even treasuring just the thought that they pitched me as the center of a show to a network that hired them to write a script. Even that, I was like, “Wow, this is incredible.” When we finished the pilot, I looked at the crew and I said, “We need to really honor this moment because this might be it. This might be the last time [I’m] ever playing this character. And we came together, and we made something really special. Whether or not it’s going to go to series, we all know we did something really wonderful.” And I burst into tears. I was so grateful for that opportunity. So every moment is a moment of gratitude and humility, to be honest.

Villarreal: Was there any part of you that thought, “I don’t know if I can do this”? Or because you were reaching for it for that length of time, when it finally happened, you’re like, “I can do this.”

Preston: There is this sense of wanting to make sure that I am doing everything I can to make this situation collaborative, to lead in a way that is not overbearing, to be a part of an ensemble, not just with the cast but with the crew. All of these things that I’ve been meditating on for decades. And I direct as well, so I know what it’s like to lead, and I’ve learned from watching really great leads, and not-so-great ones that get caught up in certain things, that rob them of an opportunity of creating something in a collective way. So I was excited to take all of these things that I’ve learned along the way and funnel them and channel them into this opportunity. Every day is a blessing, every day is challenge, and every day I feel like I do something that I know I can do better the next day. I try to meditate on that, because I want this opportunity that I’m having to be as special for the 300 people that are around me who are doing this with me. That’s really my goal.

Villarreal: In the series, obviously, we’ve come to know Elsbeth as this Chicago lawyer; here she’s a New York City police consultant. I really want to know what Elsbeth would be like in Los Angeles. What do you think that looks like?

Preston: Elsbeth finds beauty wherever she goes. I think it would be tough for her because she so likes to be right in the middle of all of humanity and [in] L.A., you’re isolated a lot in your cars — having to kind of keep yourself sequestered from other people just because that’s how people get around. I bet she’d be on the subway, she’d be on transit, she’d be on buses, she‘d be out in the malls, she would be out on the beaches, meeting people, talking to people, learning about Venice Beach as compared to Sherman Oaks. She would be all about finding all the different vibes and how she fits in.

Villarreal: You’re known for being a scene-stealer supporting player. This role in particular sort of encapsulates that. Is playing a lead rather than a supporting player a particular kind of challenge? Do you have to learn how to have your character take up space differently?

Preston: I approach it the same way that I approach anything I do as a co-star, a supporting actor, a guest star, whatever. I’m there to serve the script and to work with the people who are around me to elevate a scene and make it work. And to make the the job of everyone around me easy. I really feel like when you come at it with that collaborative spirit, you don’t think about, “Oh, I’m the lead.” You don’t think about where you fall into that hierarchy. You’re just there to make the scene work. And I like that. Because then I don’t feel pressure to be something more than what that is. You’re building a house every day, and you’ve got to start with foundation and then move all the way up. You can’t just come in and the house is already built. That takes more than one person. And I like that, and I feel like Elsbeth is like that too. She’s very much about the other person. For me, if you’re ever stuck in an acting scene and you don’t know what you’re doing, you need to just focus on the other person, and then all of that other stuff starts taking care of itself. What does this person need? What am I giving this person? What am trying to get from this person? Just all the like the basic building blocks of acting and then you can get out of your own head and let the choices happen.

Villarreal: Something that’s so striking about the character is her physicality. She sort of darts into frame, or she’s crouching, even the movement of her hands as she’s reenacting what might have happened. What was that like, finding the movement of Elsbeth?

Preston: It started from the beginning. The scripts, at the beginning, would write in these pauses. They would just say “pause” in the middle of a sentence. And I was like, “Huh, what is that?” That became the most fascinating thing to me. “What’s happening there? What’s happening with this woman when she’s not speaking?” And, so, that’s where the physical stuff started coming. And in “The Good Wife” and “The Good Fight,” there was a little bit of an evolution of that. The tote bags were brought in very early on by Brooke Kennedy, who was the producing director and one of the main directors on “The Good Wife.” She said, “I want her to always have something going on.” And I was like, “Great, I love that.” That’s a gift for an actor. I’m someone who, if you give me a prop, I’m gonna do something with it. I just like that. It’s fun. I’ve trained for the theater. So I love that idea. There’s a term that sometimes we use — I don’t know if it’s OK to say it — but sometimes we call each other “props-titutes.” If you get a prop, you can’t help it; you’re gonna have to do a thing with a thing. And so the bags and all that stuff — I started thinking, “Oh, I guess [with] this woman, her mouth is saying one thing, her mind is thinking another and her body’s doing a third thing.” As soon as I came up with that little weird math equation, things started locking into place.

Robert King directed the pilot. He created the show with Michelle King. Robert loves any kind of physical comedy. Marx Brothers, Three Stooges, Lucille Ball, all of that stuff. He just loves it. He worships that stuff. We were doing a scene and he said, “I don’t want you to just walk up. Let’s have you like lean in like Charlie Chaplin or something.” And I was like, “Great!” So he had me lean into frame and wouldn’t you know, that just became then the signature thing for this new iteration of this character. And it became kind of a metaphor for the whole show. This woman is not ever gonna approach things straight. She’s always gonna approach things at an angle. That’s another fun, creative thing that you can run with. Then the writers and the directors and the other actors, we all just started playing with that. And I have to do these scenes where I sum up the entire crime. Sometimes it’s like a five-page monologue. Well, you don’t have that much time to memorize that stuff because you get the script and I’m learning 50 pages of dialogue every eight or 10 days. So the physicality helps me remember it. And I imagine it helps Elsbeth piece it together.

Villarreal: Are you like at home just [mimics exaggerated movements]?

Preston: Yes, I’m coming up with things.

Villarreal: Is Michael [Emerson, the actor], your husband, like, “What’s going on here?”

Preston: He lets me do my thing. What I’ll say to him is, “I’m gonna go close the door and talk to myself for a while.” And he’ll go, “OK.” I learn my lines by myself. I record my own cue lines. It all has to happen alone. Because I know I have to go back over and over and over again. And when somebody is running lines with me, I’m very concerned about how bored they must be. So I just have to do all that on my own. The funny thing is I learn my lines a lot when I’m on the train. I go back and forth between New York City and the Hudson Valley a lot. It’s like an hour and 20 minutes. So the people on those trains are seeing this crazy lady, because I’ve got my ear things in and I’m looking at my [script].

Villarreal: Do you have your own bags?

Preston: I’ve go my own bags, and I am sure if they don’t recognize me as Elsbeth, they just think I’m another insane person who lives in New York City and no one cares. The kooky redheaded lady on the train.

Villarreal: Let’s talk about that other element that’s so crucial to Elsbeth, which is the hair and the wardrobe. You talked earlier about how you dyed your hair for another role, and you didn’t know you’d be locked in for this long with it, but it’s such a feature of her. Obviously we’ve seen her wear wigs in the show.

Preston: Which was fun, to go back to my original blond look.

Villarreal: And you mentioned Lucy earlier, Elsbeth in the tutu this season was so, so good —

Preston: One of the best compliments that Jon Tolins, our showrunner, ever gave me was when he saw the dailies from that day of the tutu and dancing with the little 6-year-olds. Oh, my God, I was in heaven. He just wrote, “Lucy level.” And I was like [playfully belts a note], “This is a dream.” Because I decided this woman would really want to be trying to do her absolute best. She would really be wanting to try to dance the best way that she knew how, but her body doesn’t know how to do that. But her mind wants to. Plus, I like to entertain the crew. They often don’t laugh because the crew has seen everything and they’ve seen me do a million things. But if I can get them to laugh, that’s a win.

Villarreal: Her style is so intriguing — sometimes I’m like, this is what “And Just Like That” should have had, some of these wardrobe pieces.

Preston: Well, that’s Dan Lawson, our costume designer.

Villarreal: What does that do for you? And please tell me there is a bag closet. I’m obsessed with the bags.

Preston: Oh yes. If you were to walk into the costume shop and see my section, it’s like a circus had a party under a rainbow. There’s four or five racks of clothes, and they go on what seems like a mile. And then there’s [a] whole wall of the totes. And Dan finds special totes that he’ll shop for, but then he also has some of the totes made because he wants them — we decided early on it would be totes, of course, but like after the opera episode, she would then have an opera tote. We had to make very specific totes that would do callbacks to previous cases and things like that. Dan thinks about everything.

Villarreal: Do they put things in the totes?

Preston: They do, but early on there were a lot of things in the totes, and I was starting to have to go to physical therapy because people don’t understand when you’re working on a scene, it takes six hours to shoot a scene, and if I’m coming running in with totes on my shoulders a hundred times it’s gonna take a toll on my body.

Villarreal: But you also need things in them so they don’t fall down easily.

Preston: Carol [McLennan], who’s my on-set costumer, she’s constantly putting top sticks so that they’ll stay. She’s finding creative ways to safety-pin them on. The continuity of the bags, you have to make sure that they’re exactly the way they were for every take. It’s like I have a child — three children, my totes.

Villarreal: Such a feature of the show is obviously the sort of revolving door of guest stars. This season you’ve had Stephen Colbert, Griffin Dunne, Beanie Feldstein and Patti LuPone, who was in the finale. Are you ever just lost in the fact that you’re acting opposite these people? Is there a moment that stands out from that?

Preston: Dianne Wiest. I’m a huge, lifelong fan of Dianne Wiest, like top five. And when I found out she was gonna be in the episode where she plays a nun, a murderous nun, I just thought, “I’m not gonna be able to contain myself.” I usually reach out to everybody before to send them an email or a text or something and just tell them how thrilled I am that they’ve said yes. So I wrote her a thank-you for saying yes/stalker-level fan email. And she wrote back. And she’s like, “Oh, Carrie, I’m so happy to hear that.” It was just like, “Oh, my God, I could just hear her voice.” When she showed up — I mean, she’s Dianne Wiest. And she is wearing a nun’s habit, and I couldn’t stop staring at her face. She would catch me staring at her and then she would just smile, with that sweet gorgeous face of hers and I would say, “I’m sorry, I’m sorry. I know that it’s probably making you uncomfortable. I just am absolutely honored. I do not even understand how I got to be so lucky to have someone like you doing this.” And you could say that for every single person on the show. I fangirl on them in the way that the character fangirls on Diane Lockhart. You know what I mean? The same little spirit lives inside me that is Elsbeth. I have wonder and appreciation. And it’s become more infectious. She has become more infectious the more I play her.

Villarreal: There was the moment where, in the Griffin Dunne episode, where he’s threatening towards her. I’m trying to remember if there’s been a moment like that where I felt threatened for your character. What was that like filming with him?

Preston: It was wonderful. Robin Givens, who was our director, [and] who, as we know, is an actor as well, she was really directing us to reach a pretty scary place. I like it when our show gets scary like that because we have to remember that she’s hanging out one-on-one with murderers. She’s going into their space. And as unthreatening as she is, that in and of itself is threatening. And we need to remind the audience of that from time to time. She pushes buttons because she’s trying to get them to admit something, or she’s pinning the fly to the bulletin board and watching it squirm. And this one, I realized as I was playing it, I was like, “I’ve got to play up the flirtatious side because that’s what he gets really guarded about, the fact that he’s a womanizer. So if I play that up, it’s gonna infuriate him.” And so he backs me up, and then we realize there’s no way out. It’s great, but it’s scary. But she knows that he’s not gonna do anything to her because he still thinks he’s gonna get away with murder. But we added this one [look], and I wanted to make sure [it was kept]. I said, “Please, Robin, please don’t let them cut this.” I look back at him at the very end going, “Gotcha. I got you just where I wanted you. You fell into my trap.” And they kept that in the cut. I was very happy about that because we build these things together, and sometimes they just have to cut them for time. But they didn’t.

Villarreal: Because you’re also thinking with your director’s hat. And I know it must be hard to even think about whether you can direct an episode of “Elsbeth.” But is that something on your bucket list? Or would it just be too difficult to manage?

Preston: I love this job so much. This is the dream job, and I want to make sure that I am doing everything I can to do that in the best way that I can, every day. And I do feel like having directed myself before in the past, in things where I was just a part of the ensemble, the way I choose to direct, I found that I was shortchanging the acting a little bit. I don’t want to do that on this show. I do think it would cost the crew to have me do both things, and I care about them so much. I don’t have to prove that I can do both. The one thing I could do is direct the first episode of the season because I would be able to prep. Otherwise I wouldn’t be able to prepare. I feel like I trust our directors. I love our writers. I love our crew and I love how things are going.

Villarreal: We know Elsbeth as this person with a keen ability to read people, who can sniff out liars, murderers. What was so interesting this season was to see her vulnerable side in her personal life. And see that she has her blind spots too. Were you excited when you saw that they were going to explore this side of her? And what was that like to play?

Preston: I think it’s always a good thing to deepen the character as you go along because, you know, we’re a police procedural; we have to figure out how to put a crime each episode, just structurally. But we want texture to the character, and having that vulnerable side really gave us that. As an actor, if you can find the drama in the comedy, it makes the comedy stronger, and vice versa. It was a wonderful way to stretch myself as an actor. It’s important to always show the heart of a character that you’re playing. The more specific you are, the more universal it is. And I think people can relate to her in that way. Everybody has felt heartbreak or confusion or duped or confused or distrustful of their own intuition and all of that stuff. And so the complexity of that was, of course, great to play.

Villarreal: Are you, Carrie, as perceptive as Elsbeth?

Preston: I do have a little bit of an empath in me. I do feel like I can read a room really quickly and I can kind of tell what people are thinking or what people are feeling. A vibe. I don’t know what it is, but it’s an empathic kind of nature. I have way more boundaries than I think Elsbeth does, but I’m not nearly as brilliant as that woman. I don’t know how many people in the world are. That’s what makes her so special. But I key into that side of her and I can relate to it.

Villarreal: Final question for you. The show will return for a fourth season. What do you want to see from Elsbeth? Who’s your dream guest star? It must shift because you guys are getting everybody.

Preston: We’re getting wonderful people who are interested in the show and I’m so proud of that and I know Jon is too. Jon Tolins is our showrunner. We’ve really, both of us, made it our personal missions to create an environment — and he creates scripts — that people want to come and participate in, and a welcoming place where somebody gets to play a delicious character for eight or nine days and then go on with their busy careers. I never would have dreamed that, for example, Steve Buscemi would have wanted to be on a show like “Elsbeth,” but he did and he asked to be on it. That blew our minds and it still is blowing our minds. So I could not even dream of most of the people that have come on. That said, you know, I’ve said this before, I’m a huge Meryl Streep fan. I would love for her to come on. We think often about, maybe we should see a parent of Elsbeth, a mother maybe. So we play around with different ideas for that, and that would be nice to see because we’ve seen Elsbeth as a mother, but we haven’t seen her as a daughter. We’ve seen her as a friend but we haven’t seen deep into her her origin story. So I think that could be a fun thing to tap in Season 4. But I trust Jon and the writers.

Villarreal: I want Diane Lockhart to stop by.

Preston: I know, wouldn’t that be great? Or Alicia. But I don’t know. We got Sarah Steele who played Marissa [in “The Good Wife” and “The Good Fight.”] That was amazing. But like Michelle King was saying in an interview [for an L.A. Times’ Screen Gab event] yesterday, this show has kind of found its own place separate from that universe. It’s nice if we have people from that universe pop in, but it’s not required. And a lot of our fans never even watched those shows. So that speaks to what Jon and the writers are doing and what we’re, as a collective, bringing to the audience.

Villarreal: Thank you so much for being here. I, for one, can’t wait to see what the bag selection is like in Season 4.

Preston: Me too.

Bradley Walsh is put in his place in the upcoming episode of Bradley & Barney Walsh: Breaking Dad

Bradley Walsh is hilariously told ‘do you know what you’re doing’ by an ITV show guest this Friday.

Bradley, 65, and Barney, 28, are back on the road once in their hit series Breaking Dad as they head down under for a spectacular Australian adventure in the seventh season of their beloved ITV programme.

In this week’s episode, the boys’ Australian adventure continues and they are in the outback, where they meet a group of local farmers and help them muster their cattle.

The pair then make a pit stop at a local bar, where they end up taking part in a pub quiz. The next day it’s competition time as father and son go head to head in a race on lawnmowers.

Bradley and Barney’s trip then takes them back towards the coast and the beautiful Whitsundays, where a trip on a superyacht awaits them. However, in true show style, the boys won’t be doing any relaxing as they’re expected to work onboard.

In an exclusive first look clip of this Friday’s episode, it shows the moment the boys are thrown into a Below Deck style cocktail making challenge, where they have to make beverages for the superyacht’s passengers.

Bradley is tasked with making a margarita while Barney is asked to make a piña colada. However, Bradley’s cocktail making attempts don’t exactly go to plan as he pours Cointreau directly into the glass as opposed to the cocktail shaker. Noticing his blunder, he quips: “I should have done it in this but don’t worry!”

However, the superyacht’s guests are left apprehensive as one of the passengers squeals: “Does he know what he’s doing?” before another guest offers instructions, saying: “Do you need to put the Cointreau in there to shake it?”

To which Bradley insists: “I don’t really because it’s best if you have the Cointreau sitting at the bottom of the glass. That’s the way the pros do it!”

After mixing his drink, Bradley does a taste test as he exclaims: “Wow! I tell you what, you can run this boat on that!”

Meanwhile, Barney serves up the perfect piña colada to which a superyacht guest praises: “Oh my goodness Barney, you are amazing!”

Wanting feedback, Bradley asks: “Out of ten, would you say the piña colada?” to which the guest exclaims: “I give it 12 out of 10!”

A deflated Bradley then asks: “And the margarita?” with the other passengers admitting: “Three!” to which Barney jokes: “Unlucky!”

However, despite losing the cocktail making competition, Bradley soon gets stuck in as he grabs a piña colada to try himself and says: “Cheers to you all!”

The passengers who had the margaritas then put the drink back down on the bar with Barney joking: “Yeah, you best stay clear of that if I was you!”

Breaking Dad airs on Fridays at 7:30PM on ITV1, ITVX, STV and STV Player

PALM SPRINGS — Barry Manilow steers a golf cart to the end of a long driveway, pulls to a stop and flings a plush toy goose across a manicured lawn to the delight of his two Labrador retrievers.

“OK, where we doing this?” the 82-year-old singer asks about our interview. Dressed in a khaki shirt and slim-fitting rust-colored trousers, he’s got the look of a man prepared to undertake some très chic brush clearance; in reality, he’s motored down here merely to answer questions about his fabulous life and career.

Manilow and his husband and longtime manager, Garry Kief, moved to this sprawling desert estate from Los Angeles in the late 1990s. “We kept coming out, and it’s so beautiful that eventually we said, ‘Screw it — let’s just stay,’” he says. By then, Manilow had long since established himself as one of music’s premier showmen, with a Grammy Award, 11 Top 10 hits and a storied 15-night run at L.A.’s Greek Theatre under his belt.

So you might’ve taken Palm Springs as a sign that he was ready to slow down. Instead, he launched a residency at the Las Vegas Hilton in 2005 that eventually surpassed the length of Elvis Presley’s show there; in 2006, he released “The Greatest Songs of the Fifties,” which went platinum and spawned a series of successful follow-up albums.

Last month, Sabrina Carpenter interpolated a bit of Manilow’s iconic “Copacabana (At the Copa)” into her headlining set at Coachella just days before he was honored by the American Advertising Federation for his work writing commercial jingles. The range of those achievements said something about his blend of music-nerd craft and pop-star razzle-dazzle.

“Barry loves music as much as anyone I’ve ever known,” says Bette Midler, who hired Manilow as her pianist for the name-making gig she played at New York’s Continental Baths in the early 1970s. Performing, Midler adds, “isn’t a job with him — it’s a vocation, a calling.”

Yet now that calling faces a threat. In December, Manilow announced that he’d been diagnosed with lung cancer and that surgery would require him to postpone a number of concert dates; five months later, he has yet to return to the stage — the longest break, COVID-19 aside, he can remember taking in decades.

Fortunately for Manilow, he has a new album, “What a Time,” with which to occupy himself. Due June 5, it consists mostly of original material — his first such LP in nearly 15 years — though it opens with a sumptuous rendition of Peter Allen and Dean Pitchford’s “Once Before I Go.” Manilow notes proudly that the song, which was produced by Kenneth “Babyface” Edmonds, recently made Billboard’s adult contemporary chart, extending his run on that tally beyond the half-century mark.

Barry Manilow performs in Beverly Hills in 2025.

(Gina Ferazzi / Los Angeles Times)

Still, performing is clearly on his mind as he leads me into a tile-roofed gym equipped with weights, a treadmill and a massage table. Manilow has been working out here every morning, he says, to regain the strength needed for his show; he’s got Vegas dates on the books for July but admits he’s unsure whether they’ll happen or not. We settle into two leather club chairs, his dogs Jake and Abby at his feet.

“Please be brilliant,” he tells me. “Don’t be boring.”

What are you doing on a day you’re not working?
Working.

I see.
Since the surgery, I can’t go on the road. Ninety minutes of screaming in tune, which is what I do for a living — I’m not up for that yet. I will be, but it’s taking a long time to get my voice back. They warned me that I’d have to learn to breathe again. So these days, I get up, I go to my piano and I try to be creative. Before I know it, the afternoon’s over.

Was the diagnosis a shock?
Imagine your doctor saying, “You’ve got lung cancer.”

Fair enough.
I’ll tell you the story. I have terrible hips — bursitis and everything — and they hurt so bad that I thought maybe I broke a bone or something. So I asked my wonderful family doctor, I said, “Can you just do one of those MRIs and see?” Now, before that, I’d had two bad bouts of bronchitis, one after the next. Have you ever had bronchitis?

I have.
It stinks. So I asked him if he could check my hip, and he told the guys that were doing it, “Why don’t you check his lungs?” And I think he might have saved my life because they found a big black thing in my chest. One doctor said it was probably remnants of the bronchitis, the other doctor said it could be cancer. I voted for the bronchitis. But they went back in to see and it was a cancerous tumor.

How’d you react?
When they told me, I was on the road, and I just went back to sound check. What else could I do? I never thought cancer would get me — it wasn’t in the cards. They wanted to get rid of it as soon as possible, so we made a deal: I’d finish the couple of weeks of shows that I had, then I’d go to the hospital and they’d remove it. It was supposed to be a no-brainer — it hadn’t spread yet, thank goodness. But then my AFib kicked in and acid reflux kicked in and pneumonia kicked in. They rushed me to the ICU for seven days.

Barry Manilow with Dionne Warwick in Los Angeles in 1985.

(Paul Harris / Getty Images)

Sorry to be morbid, but were you close to death?
They said at one point — I didn’t hear them say this but I heard that they did say it — “We don’t want to lose him.” It’s all a total blur now. When they finally brought me back to my lovely room at the Eisenhower [medical center], I weighed 128 pounds.

How long you figure it had been since you weighed 128 pounds?
I don’t remember ever being 128.

You said you never thought cancer would get you. Why?
I’m too busy. Pretty stupid. What I realized is that I’ve always been the leader — leader of the band, leader of an audience — but I wasn’t the leader of this one. That was a big lesson for me. I had to rely on everybody else. Nurses, doctors, friends — you should see some of the notes people have sent.

What’s it been like to be offstage for so long?
Agony. Make an album, go on the road, come back, make an album, go on the road — that’s what my life’s been for years. And I like it. Now I just have to get better and do what the doctors are telling me. It’s the only way out.

Well, there’s one other way.
I’m not ready to croak. But I wasn’t ready to stop performing either, and it just went like that [snaps fingers]. The day before surgery, people are screaming, standing ovation, band sounds great. Next day I’m packing to go to the hospital.

Are you working with a vocal coach?
Yep. But I get winded just walking down the hallway. I turn on my old records and sing along, and three songs in I’m like [pants].

Could you do a show where you skip the uptempos? No “It’s a Miracle” or “Copacabana”?
I’m trying ballads too — my ballads end big.

Are you allowed to smoke or drink?
I stopped smoking many, many years ago. I vape but hardly — I just like holding it. I was a great smoker. Brooklyn in the ’50s? Please. I started smoking when I was 9. I got up to three packs of Pall Mall non-filters a day, and it never bothered me — never had any problem breathing. I was just a skinny piano player who smoked. That’s who I am. That’s who I was.

Before he was a skinny piano player, he was a skinny accordion player.

Manilow grew up poor in Brooklyn, the only son of a Jewish mother and an Irish father who split up right after he was born. As a kid he entertained his mom and his maternal grandparents by squeezing out the Jewish folk song “Hava Nagila”; later, his stepfather brought home records by Gerry Mulligan and Judy Garland that opened his mind to jazz and pop.

He says today that he never saw himself as a performer — he wanted to write, arrange, produce. His first success came with jingles for brands like State Farm — “Like a Good Neighbor” is his handiwork — and Band-Aid.

“My ideas were good for pop music because of the commercials,” he says. “The rules are pretty much the same — you need to grab the listener as soon as possible. For a commercial, you’ve got about five seconds. For a pop song, you’ve got 10.”

In 1971, Manilow got the job with Midler and ended up working on her million-selling debut, “The Divine Miss M,” which led to a deal of Manilow’s own with Clive Davis’ Arista Records. Despite Manilow’s insistence that he was a behind-the-scenes guy, he scored a No. 1 hit out of the box with the plaintive “Mandy,” then quickly followed that with another chart-topper, “I Write the Songs” — a pop-philosophical epic, as nobody’s tired of pointing out ever since, that Manilow didn’t actually write.

Barry Manilow at home in Palm Springs.

(Christina House / Los Angeles Times)

Bruce Johnston, who wrote “I Write the Songs” — and won a Grammy for song of the year thanks to Manilow’s recording — says the key to Manilow’s performance is that “he’s never too cool for school.” A Beach Boy for six decades until he retired from the band this year, Johnston adds that Manilow’s rendition of the song, which was also cut by Captain & Tennille and David Cassidy, “is the only one I care about, honestly. He really grabbed it — he’s just as real as he could be.”

After several more Manilow hits — “Tryin’ to Get the Feeling Again,” “Weekend in New England,” “Looks Like We Made It” — Davis asked the singer to produce a would-be comeback album by his latest Arista signing, Dionne Warwick. Warwick’s initial reaction to that idea: “Really?” she says with a laugh. “Did Barry Manilow really know anything about Dionne Warwick? As it turned out, he knew quite a bit,” adds Warwick, who recalls turning up for their first session to discover that Manilow had laid every one of her albums on his piano. “He was letting me know: I know you,” she says.

“Dionne,” the album they made together, went on to win a pair of Grammys and spun off silky hit singles including “Deja Vu” and “I’ll Never Love This Way Again” that reinvigorated Warwick’s career and helped solidify Manilow’s standing as a kind of soft-rock auteur.

Which isn’t to say that rock’s intelligentsia ever viewed him kindly. Though his best music finds an emotional truth in over-the-top theatrics, critics routinely dismissed Manilow as a lightweight or a schlockmeister; even now, he seems an unlikely candidate for the Rock & Roll Hall of Fame, where he’s been eligible for induction for decades.

Manilow, who entered the Songwriters Hall of Fame in 2002, insists the slights don’t bother him. “I’ve never been one of the guys,” he says. We’ve been talking for a while, and because of the bursitis, perhaps, he’s hoisted one of his legs over the arm of his chair. “I don’t think about awards and parties and stuff like that. I’m very lucky — I live in the most gorgeous place I’ve ever seen and I have the most wonderful partner that you can imagine. I’m grateful he’s chosen to share his life with me. We’ve been together for over 46 years, and we still laugh and we still love each other. That’s the greatest award I’ll ever get.”

Manilow and Kief married in 2014; the singer came out as gay three years later. (Manilow was briefly married to his high school girlfriend, Susan Deixler, in the mid-1960s.) Has he found that the world looks at him differently since he came out?

“It was a non-event. Nobody gave a s—,” he says. “They all knew. I never really hid it, but in the ’70s and ’80s, that would have killed the career, and I didn’t want to do that. So I just never talked about it.” He smiles.

“Garry and I are just two guys that live in a house on a hill with two dogs that we love.”

Like many of Manilow’s hits, “Once Before I Go” was Davis’ idea.

Allen, the late Australian entertainer portrayed by Hugh Jackman in Broadway’s Tony-winning “The Boy From Oz,” had played the tune for Manilow in the early ’80s. “And I loved it,” Manilow says now. “But I was too young to sing a song like that — that song needs age to be able to pull it off honestly.”

Davis first suggested that Manilow perform it in his set at the post-pandemic We Love NYC concert that Davis put on in Central Park in 2021. After the show, which was called off due to weather as Manilow sang “Can’t Smile Without You,” Davis repeatedly advised the singer to record it.

Clive Davis, left, with Barry Manilow at an Arista Records party in Los Angeles in 1989.

(Lester Cohen / Getty Images)

“I don’t know, he had a bug up his ass,” Manilow says. “He loved it, and he loved it for me. And I’m not even on his record label anymore — he’s just a friend at this point. But he was right once again.”

Given the cancer diagnosis, did Manilow worry that fans might interpret the song — a teary goodbye from a well-wishing lover — as a more permanent farewell?

“Not one time has anybody said, ‘Is he talking about dying?’”

You wouldn’t necessarily call “What a Time” a concept album, though many of the songs ponder the ways memory and history can shape a romance. Manilow knows he’s regarded as a singles act but says that putting together LPs is what he’s always enjoyed best. His favorite is 1984’s jazzy “2:00 AM Paradise Cafe,” on which he collaborated with Mulligan, Sarah Vaughan and Mel Tormé.

“That was one where the critics who’d been killing me, they didn’t know I was capable of doing something like that,” he says. “But frankly, I’d been surprised that I was capable of doing the pop stuff.”

You made records of hits from the ’50s, ’60s, ’70s and ’80s. Why’d you stop before “The Greatest Songs of the Nineties”?
Were there songs in the ’90s?

Barry.
Didn’t it start to go downhill?

I can think of a handful of classics by Whitney Houston alone.
You can’t touch those. I’m a good arranger, but you can’t top those records. Maybe four of those albums was enough. I was ready to go back to writing.

You’ve said the problem with modern pop is that there’s no melody anymore.
That’s what I miss. Clive’s been pushing me to do “The Great New American Songbook.”

Like he did with Johnny Mathis a few years ago.
So I’ve been studying the Top 20. The one I like is Lady Gaga and Bruno Mars.

“Die With a Smile.”
Love that. But the way they’re writing songs these days is not the way I know how to write songs. They don’t do a verse, a chorus, a bridge, a chorus, a big ending. To me, when I listen, the songs feel like run-on sentences.

Barry Manilow with his dog Abby.

(Christina House / Los Angeles Times)

I was trying to think of artists older than you who are still performing.
Name me one.

Willie Nelson.
Oh, yeah.

Johnny Mathis.
Mm-hmm.

Frankie Valli.
[Rolls eyes].

You’re invoking the widely held assumption that he lip syncs.
I loved Frankie Valli and the Four Seasons. Who didn’t?

Would you ever lip sync?
I’m terrible at it. I try now and again.

Do you find it morally objectionable?
Depends on the artist. I like being in the moment, not knowing what’s gonna happen in the next bar or at the ending. It’s exciting to me to see if I can make those high notes.

Would not being able to make them mean it’s time to hang it up?
Well, what’s happening right now, I’m on the verge. But I’m getting stronger, so maybe I don’t have to hang it up yet. I look fantastic, but I’m a hundred years old, right? I don’t know how that happened, by the way — I don’t get Botox or anything.

You’ve had no work done?
No! I must say: There was one time when we lived in L.A. that I did do a facelift. But after that it’s just been a little here, a little there.

Wait, I asked you —
“Work” is like a facelift, and I only had one of those. The rest of it — I see something falling down, sure, I’ll do that. I’m as vain as anybody else. One of my old friends, his mother said, “I always knew he was talented, but when did he get so handsome?”

SUPERSTAR Lizzo has turned heads looking smoking hot in a skimpy pink bikini.

The 38-year-old looked fabulous as she showed off her newly-slimmed-down figure in a neon tiny two-piece.

The Truth Hurts singer – who has lost around 60 pounds over two years – posed proudly in front of a decadent gold mirror.

Making the pink pop even more, she colour coordinated with a vase full of peonies and she captured herself in the striking swimsuit.

She wrote alongside the pictures: “Not enough big grrrls w they whole stomach out fa me.” (sic)

Followers commented: “Wish I had your confidence.”

weigh to go

Lizzo looks amazing as she shows off weight loss in tiny red bikini

LIZZO LOGIC

How Lizzo lost weight ‘without jabs’ – the 3 rules, £6.99 kit and Japanese diet

Another agreed:” Queen!! If only we all shared the same confidence!”

A third praised: “Pray she never gets a tummy tuck! I love her this way!”

With her hair tied back in a silk headscarf, she accessorised with a colourful beaded necklace and bracelet.

Looking fresh and flawless, she added to the outfit with black shades as she posed up a storm.

She further delighted fans by posting a sassy video wearing a red string bikini sporting long blonde hair as she strutted up and down.

It’s rumoured the pop icon has lost 60lb, though she has never publicly revealed this because she didn’t want others to make comparisons.

Prior to the weight loss, she helped kick-start her health journey by going two months with no alcohol.

In June last year, she said: “I’ve tried everything. It’s just the science for me – calories in, calories out. Ozempic works because you eat less food.

“That’s it. It makes you feel full, so if you can just do that on your own and get mind over matter, it’s the same s**t.”

Lizzo explained how she ditched her vegetarian diet, realising it was causing her to eat in excess of 3,000 calories, after visiting Japan.

Lizzo began her weight loss journey at the end of 2023 when she was “severely depressed”.

She previously admitted she would order hundreds of dollars of food delivery and eat everything until her stomach ‘felt like it would explode’.

In 2025, Lizzo noted that she had ‘quit drinking for the longest’ but reincorporated it into her lifestyle because she’d ‘earned it’.

Last November, she wrote in an essay on Substack: “So here we are halfway through the decade, where extended sizes are being magically erased from websites.

“Plus sized models are no longer getting booked for modeling gigs. And all of our big girls are not-so big anymore.”

She said: “We’re in an era where the bigger girls are getting smaller because they’re tired of being judged.

“And now those bigger girls are being judged for getting smaller by the very community they used to empower.

“There’s nothing wrong with living in a bigger body. There’s nothing wrong with being fat.

“But if a woman wants to change, she should be allowed to change.”