show

The show remembered a late producer as it returned on Friday (February 6)

Gogglebox paid tribute to a TV producer who died after battling a brain tumour as it returned for a new series.

The Channel 4 favourite was back on screen with its 27th series on Friday night (February 6).

As it ended, a picture of Jonathan Clough was displayed on screen, along with the words: “In memory of Jonathan Clough” and the dates 1989 to 2025.

The producer had been diagnosed with a Grade 4 Glioblastoma in 2024, at the age of 35.

A fundraising campaign had been established to support Jonathan, whose TV also credits included Strictly Come Dancing and The Apprentice, in accessing specialist treatment. Actor Sam Swainsbury established the GoFundMe campaign following an appeal launched by the family.

The producer and his partner, Tracy Martin, both had to leave their careers and relocate with their two young children from London to Wigan to stay with her parents following his diagnosis.

Writing on the GoFundMe page, Tracy explained how their lives had changed after Jonathan suddenly collapsed due to a seizure in March 2024.

She wrote: “Two months after that, the results of an MRI brought our world crashing down. Our brilliant Jonathan, at only 35 years old, was diagnosed with a Grade 4 Glioblastoma — an extremely aggressive and incurable brain cancer.”

Jonathan underwent surgery, chemotherapy and radiotherapy, but subsequent scans disclosed a regrowth that doctors deemed inoperable.

In January, Sam posted a message on Instagram saying that Jonathan had died on Boxing Day.

“He saw his daughter’s first day at school,” he said. “He then made it to her first play. He then made it to Christmas. He then sadly passed on Boxing Day. He fought for every last second. He exceeded all expectations. He was extraordinary.”

“I don’t have many more words than that,” he said. “I still can’t believe it.”

Former Strictly pro Kevin Clifton was among those to pay tribute to Jonathan, who was a producer on the BBC ballroom show from 2017 to 2019.

Sharing photos of Jonathan on social media, he wrote: “An amazing friend, an amazing man, an amazing father and a heck of a fighter for his amazing family. I will miss you forever [heartbroken emoji].”

Gogglebox airs on Channel 4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

When you read about Jason Mantzoukas’ ideal Sunday in Los Angeles, it’s important that you imagine him holding a cup of coffee in basically every location and situation. He knows all the places around the city where he can get caffeinated before he goes on to do anything else.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Fittingly, the actor, comedian and podcaster has brought an excitable, unpredictable and hilarious energy to his roles on shows including “The League,” “Brooklyn Nine-Nine” and “Big Mouth.” Last year, he brought his gleeful sense of mischief to the U.K. competition series “Taskmaster.” And Disney+ recently finished airing the second season of “Percy Jackson and the Olympians,” where Mantzoukas portrays Mr. D (a.k.a. Dionysus), and he’ll soon wrap up a stint on Broadway, where he stars in Simon Rich’s play “All Out: Comedy About Ambition.”

For the continuously busy Mantzoukas, sometimes the perfect Sunday means never leaving the house. “All I want to do is make a whole pot of coffee, get the paper and a big stack of unread comic books, and sit on the porch.” When he does explore the city, he favors the spots where he similarly can just hang out for a while. But before that, how about a refill?

10:30 a.m.: First cup(s) of the day

I’m a night owl, so on a Sunday especially, I’m going to let myself sleep in. Then I’m making coffee. My first three cups of coffee are all from home. I’m making a French press. L.A. beans though, either Counter Culture or Go Get Em Tiger would be my beans of choice. That and the newspaper are the beginning.

Almost immediately upon getting up, I’m going to start playing the radio. My mornings are either LAist or Howard Stern if it’s a weekday. But on Sundays, I’m trying really hard to not do any talk, just music. It’s KJazz, or something like that. I’m also obsessed with a radio station called WYAR that I can’t recommend enough. It’s music from the ’20s, ’30s and ’40s. It’s the teeniest, tiniest radio station out of Yarmouth, Maine.

Noon: Hike bros

I’ve hiked with the same guys for years now. It’s all guys that I’ve done comedy with for 20-plus years. We usually do one of the Griffith Park hikes because it’s convenient for everybody. The conversation topics are: What is wrong with us physically? What doctor recommendations do we need desperately? Then it is gossip — gossip from within our world, gossip from outside of our world. Then it is just earnest conversation, like checking in emotionally. And then quite a bit of dumb bits, like really dumb bits.

We do these hikes a couple of times a week, and it’s so fun and funny that we have started doing an improv show at the Elysian Theater that’s called Hike Bros. It is just us trying to approximate on stage what it is we do on hikes. It’s ridiculous.

1 p.m.: Comic book restock

After the hike, I’m in a good position to go to Secret Headquarters in Atwater Village, which is my home comic book shop. They keep a list of what comics I want them to set aside each week.

There’s a series of graphic novels called “Hobtown Mystery Stories” that are like, what if David Lynch wrote Hardy Boys, Nancy Drew-style teen detective books? I got super into them because I was in Secret Headquarters and one of the people there was like, “Oh, I bet you’d like that book.” On the internet, I miss having those trusted people.

2 p.m.: Recording digging

I want to kill time in a way that is about discovery, exploration, but also, like, “Oh, I want stuff.” That’s record shopping. L.A. has always been Amoeba for me, just in terms of I love wasting hours in a store that has a deep bench for every section of music that I’m interested in. And then if you want to do the extra work, DVDs as well. There’s a lot of great smaller record stores around town that I love, but there’s something about killing two hours at Amoeba.

6 p.m.: Dinner hang

What I want from an L.A. dinner is I just want to hang there. Little Dom’s is a great hang. You can spend hours there. You’re always going to run into people. My hope is that we can all just hang out and that we’re not going to be rushed out because they have another seating.

8 p.m.: Nighttime activities

I’m going to want to do one of three things at night:

I want to go to the movies, and I’m talking Vidiots and the Vista and the New Beverly. We can all go to all the regular theaters and see all the blockbusters, but L.A. has fantastic theaters that are doing incredible programming,

If I’m not going to the movies, I want to see live music as much as I can, but on a much smaller scale than I used to. I’m excited when an artist that I love like Mary Lattimore or Jeff Parker has a residency at Zebulon because I’m like, “Oh, great. That is not a big crowd. That is very easy, very manageable.”

Then I either want to be doing a comedy show or seeing a comedy show. There’s such a vibrant scene now. The Elysian in Frogtown is a great spot. We do Dinosaur Improv at Largo. I think Largo is pound for pound, maybe the best venue in town. Dynasty Typewriter, another great one. UCB, the OG. Over the course of a month, these are all places that I’m doing shows at, but these are also places that are showcasing some of the best comedy in L.A.

11 p.m.: The missing piece

At this point I’m done being social. I don’t want to talk to anybody anymore. My goal when I get home is a jigsaw puzzle — with either a podcast or jazz on in the background — until probably like 2 in the morning.

I do these puzzles from a company called Elms Puzzles and they’re hand cut, so they’re incredibly difficult to do. It’ll take me a month to do one. They are prohibitively expensive, so much so that I don’t buy them. They have a rental program. They send you a puzzle, you do it, you send it back to them, and they send you another puzzle. Which is perfect, I don’t need to do a puzzle more than once.

It is a great way to put myself into a frame of mind to go to bed, especially if I’ve done a show or watched a movie. If I’ve been stimulated, doing a puzzle for a couple of hours is a great way to decompress.

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

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

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

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

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

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

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

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

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

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

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

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

On our radar

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

(LA Phil)

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

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

(California ScienceCenter)

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

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

(Daniel Reichert)

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

The week ahead: A curated calendar

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

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

Rickie Lee Jones performs Friday and Saturday at the Wallis.

(Amy Harris / invision/ap)

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

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

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

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

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

(Jan Welters)

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

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

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

The orchestral collective Wild Up performs Saturday at the Broad.

(Ian Byers-Gamber)

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

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

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

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

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

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

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

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

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

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

Culture news and the SoCal scene

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

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

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

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

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

(Jason Niedle / TETHOS)

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

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

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

Alexander Shelley has been named music director of Pacific Symphony.

(Curtis Perry)

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

— Jessica Gelt

And last but not least

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

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

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

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

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

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

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

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

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

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

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

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

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

LONG RAP SHEET

Johnson’s legal troubles date back even further.

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

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

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

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

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

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

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

WILD CONTESTANT

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

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

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

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

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

When it was announced in the fall that Puerto Rican singer and rapper Bad Bunny was chosen to headline the Super Bowl LX halftime show, some folks took it personally.

Why not an American pop star (he is) who speaks English (he does) and likes the president (good luck, did you watch the Grammy Awards?)?! The right felt slighted, again, this time as the victim of a great left-wing conspiracy to turn football’s biggest night against them.

Then Turning Point USA — the conservative organization founded by Charlie Kirk and helmed by his wife, Erika Kirk, following his assassination — came up with an idea. They’d put on their own show in the barn, so to speak. Performers’ sets would be in English, unlike most of Bad Bunny’s material. And this great display of American-ness would take place during the Super Bowl, stealing away viewers and ratings from that other guy with the funny name.

On Monday, Turning Point finally announced the lineup for its counter-event, the “All-American Halftime Show.” Described by Fox News as a “star-studded alternative to the Super Bowl halftime show,” the roster’s brightest luminary is Kid Rock, who hasn’t had a hit song since Obama’s first year in office. The rest of the lineup consists of country artists you’ll likely have to Google to identify (Brantley Gilbert, Lee Brice and Gabby Barrett). Their sets will be streamed live on Sunday around 5 p.m., the same time Bad Bunny is slated to perform at Santa Clara’s Levi’s Stadium. It can be watched on Turning Point USA’s YouTube, X and Rumble channels, alongside conservative networks such as Daily Wire+, Real America’s Voice, TBN and OAN. Additional musical entertainers will be announced, the organization’s website says.

Kid Rock when he wasn’t wearing an American flag as a poncho.

(Pool Photo)

“We’re approaching this show like David and Goliath,” Kid Rock (aka Robert Ritchie) said in a statement. “Competing with the pro football machine and a global pop superstar is almost impossible … or is it?”

It is impossible, of course. Bad Bunny (aka Benito Antonio Martínez Ocasio) is an American pop sensation who has conquered the globe with a vibrant mix of reggaeton, Latin pop, rap and R&B. The 31-year-old was Spotify’s most-streamed artist of 2025 and made history just a couple of days ago at the Grammy Awards when he became the first Spanish-language artist to win album of the year.

Sunday, he will reach an even wider audience as part of the country’s most-watched television event when the New England Patriots face off against the Seattle Seahawks.

But Kid Rock, 55, appears to have high hopes, with an opportunity to regain relevance likely at the top of his wish list. There’s no better way to gain attention than ripping on the most popular artist around. “He’s said he’s having a dance party, wearing a dress, and singing in Spanish?” said Kid Rock of Bad Bunny. “Cool. We plan to play great songs for folks who love America.”

The “Bawitdaba” singer is familiar with right-wing outrage over a halftime show wardrobe choice, and knows what it’s like to have your patriotism questioned by primed mobs. In 2004, he was one of several performers flanking Super Bowl headliner Janet Jackson. He angered conservatives when he wore a defaced American flag as a poncho and later tossed the flag/garment into the crowd.

But that was then, this is now. There are windmills to slay, crises to fabricate, rings to kiss. And headlining a spite concert provides a great distraction from the real issues plaguing Trump’s presidency, be it the soaring cost of living, Americans killed by ICE agents under his watch, or the nausea-inducing contents of the Epstein files.

Are we still talking about those? Yes, we are. The New York Times identified more than 38,000 references to Trump, his family and his Mar-a-Lago Club in the latest batch of emails, government files, videos and other records released by the Justice Department. Previous installments of the Epstein files, which the department released late last year, included 130 files with Trump-related references.

No wonder his followers need a distraction.

Bad Bunny can take the heat. He used his acceptance speech at Sunday night’s Grammys ceremony in Los Angeles to condemn the Trump administration’s nationwide immigration crackdown. “Before I say thanks to God, I’m going to say ‘ICE out,’” he said. “We’re not savages. We’re not animals. We’re not aliens. We are humans, and we are Americans.”

And also Super Bowl headliners.

The official Super Bowl halftime show on Sunday will feature Bad Bunny, the Grammy winner for album of the year, at the height of his powers and influence. Those upset by his onstage comments about the dignity of Latinos and immigrants, however, can turn to a competing bill featuring Kid Rock and Gabby Barrett.

Rock, the perennial MAGA raconteur and country-rock singer, will perform for the far-right activist group Turning Point USA’s counterprogramming event streaming across the conservative mediasphere. Turning Point USA is the activist group founded by the late Charlie Kirk, who was killed last year at a speaking event in Utah.

“We plan to play great songs for folks who love America,” Rock said in a statement announcing the bill. “We’re approaching this show like David and Goliath. Competing with the pro football machine and a global pop superstar is almost impossible … or is it?”

“He’s said he’s having a dance party, wearing a dress and singing in Spanish? Cool. We plan to play great songs for folks who love America,” Rock said, in an overt jab at the actual Super Bowl halftime show headliner.

Veteran country acts Lee Brice and Brantley Gilbert and Barrett, an “American Idol” alum with a 2019 Hot 100 hit in “I Hope,” will also perform.

While Rock’s right-wing politics have largely eclipsed his musical relevance in 2026, he’s recently tried to position himself as a power broker for MAGA-friendly concerts with just enough plausible appeal for more neutral country and rock fans. His planned 2026 touring festival, Rock the Country, is set to feature Blake Shelton, recent Grammy winner Jelly Roll, Creed and Miranda Lambert, but lost Ludacris and Morgan Wade following blowback from fans.

When Bad Bunny was booked for the Super Bowl in October, House Speaker Mike Johnson (R-La.) said, “I didn’t even know who Bad Bunny was. But it sounds like a terrible decision, in my view, from what I’m hearing. It sounds like he’s not someone who appeals to a broader audience.”

“There are so many eyes on the Super Bowl — a lot of young, impressionable children. And, in my view, you would have Lee Greenwood, or role models, doing that. Not somebody like this, ” he added.

President Trump said a bill featuring the Grammy-winning Puerto Rican superstar — and the famously anti-Trump punk band Green Day — was part of the reason he would not attend the game this year. “I’m anti-them. I think it’s a terrible choice,” he said. “All it does is sow hatred. Terrible.”

HE has more than two decades of hits under his belt and worked with everyone from Amy Winehouse and Dua Lipa to Adele and Miley Cyrus.

Now I can exclusively reveal Mark Ronson will get his flowers at the Brit Awards later this month, as he will receive the Outstanding Contribution to Music award.

And, in even more good news for viewers, Mark will also take to the stage for a performance at the ceremony, being held at ­Manchester’s Co-op Live arena on February 28.

The superstar DJ, producer and songwriter said: “This is the most meaningful honour of my career.

“I think of the times I’ve watched artists I revere accept this same award.

“The idea that I’m now standing in that ­lineage feels impossible.

PARTY WITH MJ

I hung out with Jacko at 13 – ‘child abuse’ made me re-examine time together

MARK’S BATTLE

My drug habit was so bad I thought I’d had a stroke at 20, says Mark Ronson

“I left England as a kid, but this country runs through everything I’ve made.

“The UK artists I’ve worked with — their brilliance and refusal to compromise — shaped not just my work but how I understand what music should do.

“And more than anything, it’s the crowds here who’ve ­sustained and showed up for me.

“The fans, the festival crowds, the record buyers and streamers — the love has always been overwhelming. I’m beyond grateful for all of it.”

The gong is richly deserved for Mark, who has helped guide some of my favourite artists to superstardom.

It is a poignant year to receive the award, as it marks 20 years since Mark produced Amy’s Back To Black album, which is widely considered one of the greatest records of all time.

Details about his performance are being kept under lock and key, but I imagine he will be treating us to a medley of his hits including the Bruno Mars classic Uptown Funk and Miley Cyrus’ Nothing Breaks Like A Heart.

He joins a stellar list of performers, with Harry Styles, Olivia Dean and Wolf Alice already announced. In receiving the gong, Mark is following in the footsteps of other British favourites including Sir Paul McCartney, Robbie Williams and Blur.

Jack Whitehall is returning to host the biggest night in UK music for the sixth time.

And I am expecting my story about Maura Higgins’ kiss with married McFly singer Danny Jones at last year’s Universal Music after-party to feature heavily in his jokes.

Bring it on.

Nicole strikes a blue note

NICOLE SCHERZINGER looked belting in blue after performing at a charity concert.

She wore this stunning gown to the Love Life: West End Unites Against Cancer event at London’s Theatre Royal Drury Lane just as I revealed her ex Lewis Hamilton, who she dated from 2007 to 2015, is secretly seeing Kim Kardashian.

Nicole is now engaged to former rugby union player Thom Evans – but I won’t be surprised if this gives her a nudge to get on with her wedding planning.

Ben and Benson’s goalden gags

BEN STILLER and Benson Boone play brothers who can’t stop fighting in a new ad.

In the guise of an Eighties Europop duo, the pair argue after comedian Ben tries and fails to copy Benson’s famous backflips.

Then they lock horns over the Super Bowl, with Ben confusing American football with soccer.

He says: “We are excited to sing for you in this football game. Hopefully many, many goals.”

Singer Benson corrects him: “This is a different football – they touch down,” prompting yet more bickering.

Their double act is for online grocery service Instacart’s ad, which will air during the US sporting event on Sunday.

I feel like they need a whole film together.

Kooks show on Sail soon

THE KOOKS will play a huge show at the Old Royal Naval College in Greenwich, South East London, on July 31 to celebrate the 20th anniversary of their incredible album Inside In/Inside Out.

It comes as Luke Pritchard releases a live version of his brilliant 2014 tune See Me Now, which he wrote for his musician dad Bob, who died when he was three.

The new version was recorded at London’s O2 Arena last year, with Luke, telling me: “I didn’t think I would be able to finish the song.

“I just thought how much that this would blow my dad’s mind – that I played the song to that many people in London, you know.”

Bob, who once supported The Rolling Stones on tour, helped Luke first pick up a mic, with the star explaining: “My mum dropped off a load of tapes of me and my dad that I’d never seen.

“He was teaching me to use a microphone, play guitar, pose like a rock star, all when I was three.”

Tickets for the show go on sale at noon on Monday.

I’ll see you there.

Molotovs’ No1 battle

THE MOLOTOVS have thrown down the gauntlet to Lily Allen as they battle her for the No1 album spot this Friday, warning: “We’re coming for you.”

Punk rock siblings Matt and Issey Cartlidge, who make up one of the most exciting and disruptive new bands I’ve seen in years, are at No2 in the midweek charts with their debut record Wasted On Youth.

Meanwhile, Lily has shot up to the No1 spot with West End Girl, after she released physical copies of the record for the first time.

The race is tight, and in an exclusive chat, Matt told me: “Watch out silly Lily, we’re coming for you.

“We’d love to beat you. We wish you all the best but f***ing, come on! We’ll have you!”

Issey adds: “Battling with Lily Allen proves bands are coming back. People still have an appetite for our music.”

Lily, right, is more than happy to hand over the mantle and, on Monday night, issued a public statement to the siblings, writing on Instagram: “It’s all love baby, I hope you win the war.”

Matt and Issey have worked tirelessly to get their album heard and have played 600 live shows to date, while simultaneously championing grassroots venues.

Their campaigning, alongside the Sex Pistols and Frank Carter, helped save the iconic Bush Hall in West London, after a fundraising drive brought in £45,000.

Issey adds: “We’re now ambassadors for the Music Venue Trust too. The 30-date tour we’re on now has been in small, grassroots venues – we wanted to champion them.

“These venues and institutions are so important.”

The pair will support their pal Yungblud on his UK arena tour in April, before they embark on their own 13-date tour across the UK in September, taking in venues including London’s 2,300-capacity O2 Forum Kentish Town.

Matt said: “It’s a big step up. We’ve always had the same level of confidence, we’re just getting bigger.”

The Molotovs deserve a No1 for Wasted On Youth – it is fantastic.

CAUGHT LIVE

Suede @ Leas Cliff Hall, Folkestone

★★★★☆

SUEDE kicked off their sold-out UK tour in blistering form over the weekend, promoting latest album Antidepressants which topped The Sun’s album poll in December.

Brett Anderson teased us fans by inviting us into their world, before warning: “It’s not very nice and full of barbed wire.”

But in reality, the set is packed with new tunes and a sprinkling of classics from the Nineties, with Brett’s voice stronger than ever as he treats us to an off-mic a capella tear jerker among the thundering hits.

With 14 of the 21 songs coming from their post- 2010 comeback albums, it’s proof that being the self-dubbed “anti-nostalgia band” is a pretty perfect world after all.

THIS Sunday Bad Bunny will take to the stage for what I ­imagine will be an epic Super Bowl half-time show.

But before that, rapper Lil Wayne will also have his own half-time show . . . virtually, at least. The five-time Grammy winner is set to perform his 2008 hit A Milli on mobile game Clash Royale on Friday.

Lil Wayne said: “Music, sports, and gaming all in one place – y’all know how much I love being at the centre of the culture. I’m turning the Clash Royale Arena into the most lit concert of the week.

“Tap in on February 6 to see what we got in store for y’all.”

CHAPPELL ROAN has defended the “nipple ring” Thierry Mugler dress she wore to the Grammys on Sunday, insisting she had no idea it would cause controversy.

Sharing images on Instagram of the frock, which had fabric hanging from prosthetic pierced nipples, the singer wrote: “Giggling because I don’t even think this is THAT outrageous of an outfit.

“The look is actually so awesome and weird. I recommend just exercising your free will – it’s really fun and silly.”

I am pleased to see Chappell can laugh about it.

Every red carpet could do with a bit more silliness in these troubled times.

How did a gay hockey romance made by a little-known Canadian streamer become a global cultural phenomenon?

The answer, as it turns out, was by leaning into female and queer audiences. Since the debut last November of “Heated Rivalry,” which chronicles the clandestine love story between two fierce hockey rivals, the drama series from Bell Media’s Crave has emerged as an unlikely success story, defying a broader industry trend of media consolidation and waning commitments to diversity in Hollywood.

The mastermind behind the show’s success is Jacob Tierney, who read author Rachel Reid’s “Game Changers” series during the COVID-19 pandemic and then optioned all of the books after reading a Washington Post story about the proliferation of romance novels. After writing a pilot on spec, he approached the executives at Crave — where he had previously produced “Letterkenny,” “Shoresy” and “Canada’s Drag Race” — about green-lighting a series. From the outset, the gay writer-producer had a clear idea of how he wanted to adapt the “smutty” story for TV, starting with casting relative newcomers Hudson Williams and Connor Storrie as Shane Hollander and Ilya Rozanov, respectively.

“Jacob was very open to our feedback, but his common [refrain] back to us was, ‘We need to be true to the source material because the built-in fan base will expect certain things from us, and that includes the appearances of these actors and their ages,’” says Justin Stockman, Bell Media’s VP of content development and programming. “He’s like, ‘We found them. These are the people from the book.’ And that’s where we had to trust him.”

Brendan Brady, Tierney’s producing partner through their Accent Aigu Entertainment banner, notes that the Canadian TV model diverges from the American one, in that the producer retains ownership of the IP while collecting a licensing fee from the broadcaster. To fund the series, Tierney and Brady reinvested their personal fees to cover about 10% of the budget, while another 30% was sourced from tax credits. This included the Canada Media Fund, a resource derived from government and industry contributions that national broadcasters can allocate at their discretion. The rest of the financing usually comes from third parties.

But Tierney recalls that the notes from potential financiers did not align with his creative vision. Some wanted to delay the graphic depictions of gay sex and expand the world to include more characters. Someone even suggested introducing Rose Landry (Sophie Nélisse) earlier and putting her in a love triangle with Shane and Ilya, because they believed “this show won’t work without a female entry point,” Tierney recalls. Ultimately, Bell Media opted against a co-financier, instead covering the remaining costs through its new distribution branch, Sphere Abacus. But, Brady says, the budget was still “far south” of CA$5 million (approximately $3.6 million) per episode. “It’s so much less than that, it’s almost silly,” Tierney adds.

Sean Cohan, an American executive who worked at A&E Network and Nielsen before being appointed president of Bell Media, does not think “Heated Rivalry” could have been made in the U.S. For starters, “green-lighting” stateside is a “slower” process; Tierney could have been stuck in development hell for years. The show also contains numerous Canadian references — cottage country, loons, McGill University — which would have not made sense outside of the Great White North.

From left, stars Connor Storrie and Hudson Williams, creator Jacob Tierney and executive producer Brendan Brady on the set of “Heated Rivalry.”

(Sabrina Lantos)

For his part, Tierney doesn’t believe that “Heated Rivalry” would have even been made at another Canadian network or streamer. “There’s lots of ways to put your fingers in and get them sticky and screw things up, and these executives wanted the same show that we wanted to make and they supported us 100%,” he says. Those executives were so confident in the show’s success that they decided to move up the premiere date from February to late November to take advantage of the increase in viewership around the holidays. The accelerated release schedule meant that Tierney delivered his cut of the Season 1 finale a week and a half before it aired.

At the time of our interview, Tierney was already trying to break the story for Season 2, which he and Brady say will not premiere until spring 2027. “As much as I appreciate how rabid and interested people are at this point, the first season worked because I trusted my gut with this, and I’m going to do that again,” Tierney says.

Like the audience, Bell Media executives are waiting with bated breath for the next chapter of “Heated Rivalry.” And given that Accent Aigu has optioned all of the “Game Changer” novels (including Reid’s forthcoming “Unrivaled”), everything is on the table — more episodes or seasons, one-off specials, maybe even a spin-off. “We’re open to anything that keeps the quality where it was, but also brings our show back as quickly as we can,” Stockman says. (HBO Max will not be involved financially and remains merely a distributor.)

Tierney declines to reveal whether he will split “The Long Game” into one or two seasons, but he volunteers that he does not see himself making more than six episodes per season. “I don’t need to do 10. I would always rather tighten the belt than get loosey-goosey,” says Tierney, who will have a co-writer for Season 2 but continue to direct all the episodes himself. “I would rather be like, ‘Let’s see how much story we can pack into these episodes.’”

“We want everybody to be left yearning,” Brady adds. “That’s what everybody loves about this show. Less is more!”

“Heated Rivalry” may center on Shane and Ilya, but there will “absolutely” be “diversions” to other characters in the canon. “Just like you can’t tell the story without Scott Hunter, you can’t really tell the story without Troy Barrett,” Tierney says, alluding to a character from Reid’s books who is yet to appear in the TV series. And while there may be a lot more incoming calls about higher-profile casting, he adds, “We need Canadian talent, and we love Canadian talent. It’s not a burden, but it’s also something we literally have to do to get our financing.”

For Cohan, “Heated Rivalry” is valuable proof of concept as he attempts to convince more Canadian creators to return to their roots, regardless of where they now live in the world. “It certainly helps to feel like we’ve got a dramatic illustration, a data point — a pretty good one too — to say, ‘Yeah, look, we Canadians, not just Bell, can make great, global and profitable [shows], and we can do it by being authentic,’” Cohan says.

I can’t believe it’s happening to us.

“The Kelly Clarkson Show,” the Daytime Emmy Award-winning series hosted by the Grammy-winning musician, is ending after a seven-season run. Kelly Clarkson announced Monday that she had decided to step away from hosting the daily talk show.

In a statement, Clarkson said she made her decision to prioritize spending time with her children. The former singer had two children, in 2014 and 2016, with ex-husband Brandon Blackstock, who died in August at age 48.

“I have been extremely fortunate to work with such an outstanding group of people at ‘The Kelly Clarkson Show,’ both in Los Angeles and New York,” Clarkson said in a statement. “This was not an easy decision, but this season will be my last hosting ‘The Kelly Clarkson Show.’ Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives.”

The syndicated talk show launched in September 2019 after Clarkson, who won over TV audiences as the first-ever winner of “American Idol,” in 2002, returned to the world of musical reality competitions as a coach on “The Voice” in 2018. “The Kelly Clarkson Show” showcased the “Since U Been Gone” singer’s affable, approachable charm in her sit-down interviews with celebrities and everyday heroes, as well as her talents in popular segments including “Kellyoke,” which saw Clarkson sing covers of other people’s songs.

“I am forever grateful and honored to have worked alongside the greatest band and crew you could hope for, all the talent and inspiring people who have shared their time and lives with us, all the fans who have supported our show and to NBC for always being such a supportive and incredible partner,” Clarkson added in her statement. “This isn’t goodbye. I’ll still be making music, playing shows here and there and you may catch me on ‘The Voice’ from time to time. … You never know where I might show up next. But for now, I want to thank y’all so much for allowing our show to be a part of your lives, and for believing in us and hanging with us for seven incredible years.”

The seventh season of “The Kelly Clarkson Show” kicked off in September and production will continue as planned. Clarkson will continue to host Season 7, with a few yet-to-be-announced guest hosts. The episodes for Season 7 will run through September.

History was made in more than one way at Sunday night’s 68th Grammy Awards.

Bad Bunny’s “Debí Tirar Más Fotos” won album of the year — the first Spanish-language LP to take the Recording Academy’s highest honor. Kendrick Lamar and SZA’s “Luther” was named record of the year, making Lamar the winningest rapper in Grammy history (and just the fourth artist to go back-to-back for the record prize). Then there were Billie Eilish and her brother, Finneas O’Connell, who took song of the year with “Wildflower”; they’re now the only songwriters with three wins in that prestigious category.

To go by demographics, the ceremony clearly embodied the diversity gains the academy has been saying proudly are happening among its 15,000 voting members. But if new kinds of faces are becoming Grammy darlings, the music they’re being recognized for still upholds many of the academy’s old values. A night for making history was also a night for reveling in it.

Take “Luther,” a soulful hip-hop slow jam built on a prominent sample of Luther Vandross and Cheryl Lynn’s 1982 rendition of a love song Marvin Gaye and Tammi Terrell recorded in the late 1960s — an intricate piece of lineage-making meant to bridge multiple generations.

Olivia Dean performs.

(Myung J. Chun / Los Angeles Times)

“First and foremost, let’s give a shout-out to the late, great Luther Vandross,” the producer Sounwave said as he, Lamar, SZA and the song’s other creators accepted their award at Crypto.com Arena. (Before they made it onstage, Cher misread the card identifying “Luther” as record of the year and said that Vandross himself had won.) Lamar added, “This is what music is about,” and expressed his gratitude for being allowed “the privilege” to use Vandross’ music as long as he and SZA promised the singer’s estate not to curse on their record.

You can hear a similar reverence for those who came before in Olivia Dean, the 26-year-old British singer named best new artist on the strength of her hit “The Art of Loving” LP, which looks back to the gleaming pop-soul of Diana Ross and Whitney Houston.

Even Bad Bunny, the Puerto Rican rapper and singer who became a superstar at the bleeding edge of reggaeton and Latin trap, achieved his Grammy breakthrough with something of a throwback move: “Debí Tirar Más Fotos” is an exactingly arranged tribute to his native island, with elements of Puerto Rican folk styles such as bomba and plena and more hand-played instrumentation than he utilized for 2022’s sleek “Un Verano Sin Ti,” which scored a Grammy nomination for album of the year but lost to “Harry’s House” by Harry Styles (who, as it happens, presented the album prize Sunday).

Part of Bad Bunny’s success this year can be attributed to the fact that he’s a far bigger celebrity than he was three years ago; indeed, his Grammy triumph impressively sets up the halftime performance he’ll give this coming weekend at Super Bowl LX. But not unlike Beyoncé’s rootsy “Cowboy Carter,” which finally brought her a win for album of the year in 2025 after a number of outrage-inducing defeats, “Debí Tirar Más Fotos” is also primo Grammy bait: a work steeped in tradition from a natural innovator.

SZA backstage.

(Allen J. Schaben / Los Angeles Times)

For years, the Grammys’ rearview gaze used to bum me out — and, to be honest, as lovely as Eilish’s “Wildflower” is, her song of the year win with the tender acoustic ballad felt like a failure of imagination among voters I wish had recognized the hurtling exuberance of “Golden,” from Netflix’s “KPop Demon Hunters.” (“Golden” did take the prize for song written for visual media, which made it the first K-pop tune to win a Grammy.)

Yet something about Sunday’s ceremony made it hard to get too worked up about all the historicizing. Perhaps it was how plainly yet passionately many artists used their time onstage to speak about the issues pressing on us right now. “Before I say thanks to God, I’m gonna say: ICE out,” Bad Bunny told the crowd as he accepted an award for música urbana album. “We’re not savage, we’re not animals, we’re not aliens. We are humans, and we are Americans.”

Lady Gaga on the red carpet.

(Christina House/Los Angeles Times)

Eilish said, “No one is illegal on stolen land.” Dean pointed out that she’s the granddaughter of an immigrant and that “those people deserve to be celebrated.”

I was also moved by how personal so much of the music felt — a cry of imperfection like Lola Young’s “Messy,” for instance, which she performed by herself on piano and which won pop solo performance in an upset over the likes of Lady Gaga and Sabrina Carpenter. “I don’t know what I’m gonna say because I don’t have any speech prepared,” she yelled into the microphone as she received her trophy. “Obviously, I don’t — it’s messy, do you know what I mean?”

Weirdly for a show with yesterday so heavily on its mind, a tribute to the late R&B trailblazers Roberta Flack and D’Angelo was a disappointment, with Lauryn Hill as bandleader moving way too quickly (in way too short an allotted time) through songs that require real space to unfurl.

That’s what Justin Bieber had for the evening’s most striking performance: a slow and radically stripped-down rendition of his song “Yukon” that he sang wearing only boxer shorts and socks, accompanying himself with a scratchy electric guitar riff he fed through a looping station.

“Yukon” is from Bieber’s impressive “Swag” album, which he released last year after a lengthy stretch in the pop-star wilderness; it’s an LP, kind of like “Messy,” about learning to forgive yourself for your flaws, and here he sang “Yukon” like a guy who’d figured out — maybe a guy figuring out — how to build a life outside the punishing expectations of celebrity. The music had the past in it, of course, but didn’t feel constrained by it.

Justin Bieber performs.

(Myung J. Chun / Los Angeles Times)

MINNEAPOLIS — For weeks, administrators at this charter high school have arrived an hour before class, grabbed neon vests and walkie-talkies, and headed out into the cold to watch for ICE agents and escort students in.

Lately, fewer than half of the 800 sudents show up.

“Operation Metro Surge,” the immigration crackdown in Minnesota that led to nationwide protests after federal agents shot and killed two U.S. citizens, has had students, parents and teachers on edge regardless of their immigration status.

Signs of a fearful new normal are all over the school. Green craft paper covers the bottom of many first-floor windows so outsiders can’t peer in. A notice taped outside one door says unauthorized entry is prohibited: “This includes all federal law enforcement personnel and activities unless authorized by lawful written direction from appropriate school officials or a valid court order.”

Students at a Minneapolis high school classroom with many empty seats on Jan. 29, 2026.

Staff coordinate throughout the day with a neighborhood watch group to determine whether ICE agents are nearby. When they are, classroom doors are locked and hallways emptied until staff announce “all clear.”

Similar tactics have been utilized by schools in other cities hit by immigration raids across the country. The Los Angeles Unified School District established a donation fund for affected families and created security perimeters around schools last summer.

But it appears nowhere have students felt the repercussions of local raids more than in Minneapolis.

Many schools have seen attendance plummet by double-digit percentages. At least three other, smaller charter schools in Minneapolis have completely shut down in-person learning.

At this high school, which administrators asked The Times not to identify for fear of retaliation by the Trump administration, 84% of students are Latino and 12% are Black. Staff and students are being identified by first or middle names.

A balloon sits in a hallway at the high school.

Doors and windows are covered at the school so outsiders can’t see in.

Three students have been detained — and later released — in recent weeks. Two others were followed into the school parking lot and questioned about their immigration status. Several have parents who were deported or who self-deported. Latino staff said they have also been stopped and questioned about their legal status.

“Our families feel hunted,” said Noelle, the school district’s executive director.

Students returned from winter break on Jan. 6, the same day 2,000 additional immigration agents were dispatched to Minneapolis to carry out what Immigration and Customs Enforcement Acting Director Todd Lyons called the agency’s “largest immigration operation ever.” The next day, an ICE officer fatally shot Renee Good, a 37-year-old mother of three.

“I describe that day as if you’re on an airplane and it’s really bad turbulence, and you have to keep your cool because, if you don’t, you lose the entire building,” said Emmanuel, an assistant principal. “It felt like we went through war.”

Attendance dropped by the hundreds as parents grew too afraid to let their children leave home. School leaders decided to offer online learning and scrambled to find enough laptops and mobile hotspots for the many students who didn’t have devices or internet. Some teachers sent packets of schoolwork to students by mail.

A teacher at the Minneapolis high school that administrators asked The Times not to identify for fear of retaliation by the Trump administration. Teachers and students there also asked not to be identified.

Noelle said in-person attendance, which had dropped below 400 students, increased by around 100 in the third week of January. Then federal agents shot and killed 37-year-old intensive care nurse Alex Pretti, and attendance plummeted again.

Rochelle Van Dijk, vice president of Great MN Schools, a nonprofit supporting schools that serve a majority of students of color, said many schools have redirected tens of thousands of dollars away from other critical needs toward online learning, food distribution and safety planning. For students still attending in person, recess has frequently been canceled, and field trips and after-school activities paused.

Even if students return to school by mid-February, Van Dijk said, they will have missed 20% of their instructional days for the year.

“A senior who can’t meet with their college counselor right now just missed support needed for major January college application deadlines. Or a second-grader with a speech delay who is supposed to be in an active in-person intervention may lose a critical window of brain plasticity,” she said. “It is not dissimilar to what our nation’s children faced during COVID, but entirely avoidable.”

At the high school, administrators said they tried to create “a security bubble,” operating under protocols more typical of active shooter emergencies.

Gym class at the Minneapolis school, where many students are so afraid of ICE that they won’t go to the campus.

If agents were to enter the building without a judicial warrant, the school would go into a full lockdown, turning off lights, staying silent and moving out of sight. That hasn’t happened, though ICE last year rescinded a policy that had barred arrests at so-called sensitive locations, including schools.

Tricia McLaughlin, assistant secretary for the Department of Homeland Security, said that blaming ICE for low school attendance is “creating a climate of fear and smearing law enforcement.”

“ICE does not target schools,” McLaughlin said. “If a dangerous or violent illegal criminal alien felon were to flee into a school, or a child sex offender is working as an employee, there may be a situation where an arrest is made to protect the safety of the student. But this has not happened.”

Alondra, a 16-year-old junior who was born in the U.S., was arrested after school Jan. 21 near a clinic where she had gone with a friend, also 16, to pick up medication for her grandmother.

She said that as she was about to turn into the parking lot, another car sped in front of her, forcing her to stop. Alondra saw four men in ski masks with guns get out. Scared, she put her car in reverse. Before she could move, she said, another vehicle pulled up and struck her car from behind.

Alondra shared videos with The Times that she recorded from the scene. She said agents cracked her passenger window in an attempt to get in.

“We’re with you!” a bystander can be heard telling her in the video as others blow emergency whistles.

She said she rolled her window down and an agent asked to see her ID. She gave him her license and U.S. passport.

“Is it necessary to have to talk to you or can I talk to an actual cop?” she asks in the video. “Can I talk to an actual cop from here?”

“We are law enforcement,” the agent replies. “What are they gonna do?”

In another video, an agent questions Alondra’s friend about the whereabouts of his parents. Another agent is heard saying Alondra had put her car in reverse.

“We’re underage,” she tells him. “We’re scared.”

A sign directs students to line up for their school bus route. Bus pickups are staggered, with one group of students escorted outside at a time. This way, the children can be taken back inside the school or onto the bus more easily if ICE arrives.

A Minneapolis Public Radio reporter at the scene said agents appeared to have rear-ended Alondra’s car. But Alondra said an agent claimed she had caused the accident.

“It’s just a simple accident, you know what I mean?” he says in the video. “We’re not gonna get on you for trying to hit us or something.”

“Can you let us go, please?” her friend, visibly shaken, asks the agent at his window.

Alondra and her friend were handcuffed and placed in a U.S. Customs and Border Protection vehicle as observers filmed the incident. At least two observers were arrested as agents deployed tear gas and pepper spray, according to an MPR report.

The agents took the students to the federal Whipple Building. Alondra said the agents separated the friends, looked through and photographed her belongings and had her change into blue canvas shoes before chaining her feet together and placing her in a holding cell alone.

“I asked at least five times if I could let my guardian know what was happening, because I was underage, but they never let me,” she said.

Finally, around 7 p.m., agents released Alondra — with no paperwork about the incident — and she called her aunt to pick her up. Her friend was released later.

Meanwhile, school administrators who saw the MPR video called Alondra’s family and her friend’s.

Alondra said officers didn’t know what had happened to her car and told her they would call her when she could pick it up. But no one has called, and school administrators who helped her make calls to Minneapolis impound lots haven’t been able to locate it either.

Though Alondra could attend classes online, she felt she had to return to campus.

“I feel like if I would have stayed home, it would have gone worse for me,” she said, her lip quivering. “I use school as a distraction.”

The backstage of the auditorium, dubbed the bodega, has been turned into a well-stocked pantry for families who are too afraid to leave their homes.

A volunteer organizes donated items for distribution to families at the Minneapolis high school.

A teacher makes a delivery to a family in Minneapolis.

Teachers and volunteers sort donations by category, including hygiene goods, breakfast cereals, bread and tortillas, fruit and vegetables, diapers and other baby items. Bags are labeled with each student’s name and address and filled with the items their family has requested. After school, teachers deliver the items to the students’ homes.

Noelle said some students, particularly those who are homeless, are now at risk of failing because they’re in “survival mode.” Their learning is stagnating, she said.

“A lot of these kids are — I mean, they want to be — college-bound,” Noelle said. “How do you compete [for admission] with the best applicants if you’re online right now and doing one touch-point a day with one teacher because that’s all the technology that you have?”

On Thursday afternoon, 20 of 44 students had shown up for an AP world history class where the whiteboard prompt asked, “Why might some people resort to violent resistance rather than peaceful protest?”

Upstairs, in an 11th-grade U.S. history class, attendance was even worse — four students, with 17 others following online. The topic was what the teacher called the nation’s “first immigration ban,” the Chinese Exclusion Act of 1882.

Students head to their bus at the high school.

Morgan, the teacher, asked the students to name a similarity between the Chinese exclusion era and current day.

“Immigrants getting thrown out,” one student offered.

“Once they leave, they can’t come back,” said another.

“The fact that this is our first ban on immigration also sets a precedent that this stuff can happen over and over and over again,” Morgan said.

Sophie, who teachers English language learners, led the effort to organize the online school option. She is from Chile and says she has struggled to put her own fear aside to be present for the students who rely on her. Driving to school scares her, too.

“It’s lawless,” she said. “It doesn’t matter that I have my passport in my purse. The minute I open my mouth, they’re going to know that I’m not from here.”

Sophie said she once had to call a student’s mother to say her husband had been taken by immigration agents after another school staffer found his car abandoned on a nearby street.

“Having to have that conversation wasn’t on my bingo card for that day, or any day,” she said. “Having to say that we have proof that your husband was taken and hearing that woman crying and couldn’t talk, and I’m like, what do I say now?”

Close to the 4:15 p.m. dismissal, administrators again donned their neon vests and logged on to the neighborhood Signal call for possible immigration activity.

Students walk to a bus Thursday. Dismissal used to be a free-for-all, with large numbers of students rushing outside as soon as the bell rang.

Dismissal used to be a free-for-all — once the final bell rang, students would rush outside to find their bus or ride or to begin the walk home.

Now pickups are staggered, with students escorted outside one bus at a time. Teachers grab numbered signs and tell students to line up according to their route. If ICE agents pull up, administrators said, they could rush a smaller group of students onto the bus or back inside.

In yet another example of how the immigration raids had crippled attendance, some buses were nearly empty. On one bus, just two students hopped on.

Interiority is a concept that multimedia artist Sarah Sze has been fixating on lately.

“So much of what we experience is actually interior,” Sze said in a recent video interview. “We’ve become so exterior focused. We’re so outward looking.”

At a time when it’s all too easy to consume a never-ending stream of social media images, the celebrated New York-based artist is more interested in scrolling through the images stored inside her own mind.

Her new show, “Feel Free,” champions the mind’s eye, in all its random, fragmented glory. It brings a collection of new paintings and two immersive video installations to Gagosian Beverly Hills.

Sze is known for her unconventional sculptures and large-scale paintings, which she’s shown in such venues as the Museum of Modern Art, LACMA and the U.S. Pavilion at multiple Venice Biennales. In 2023, she left her mark on both the inside halls and the exterior walls of the Guggenheim Museum, and her public sculptures have transformed a grassy hillside as well as a pine grove and an international airport.

Sarah Sze’s Gagosian Beverly Hills show “Feel Free” is meant to feel intimate.

(Ariana Drehsler/For The Times)

At the Gagosian show, Sze leaned into the intimate and fragile, while continuing her signature experimental streak.

In one of her newest pieces, “Once in a Lifetime” — part sculpture, part video display — precarious clusters of bric-a-brac form a mechanical marvel that appears to defy gravity.

A stack of small projectors is cradled inside of a fantastical tower fashioned out of crisscrossed tripods, metal poles and ladders festooned with an assemblage of toothpick structures, empty cardboard containers that once held crayons and Lactaid, dangling prisms, arts & crafts scraps, and paper cut-outs of deer and wolves (figures that appear throughout the show).

The bare gallery walls surrounding the monument flash with rotating projections of construction sites where buildings are being erected and demolished, clouds drifting across tranquil blue skies, and city lights twinkling then slowly dissolving into floating fractals. The Dadaist piece is every bit as off-kilter and fascinating as the Talking Heads song that inspired its title.

“Once in a Lifetime” is part video display and part sculpture, made of tripods, toothpicks, lights, cardboard boxes and projectors that flicker images on the gallery walls. (Ariana Drehsler/For The Times)

“The most important thing about my show is that I hope it’s really challenging and exciting and gives young artists license to do what they want to do,” Sze said.

“When they come in and say, ‘Wait … I didn’t know you could put up toothpicks going to the ceiling and throw a video through it and make it into a movie. I didn’t know you could put a pile of things on the floor in front of a painting.’ It’s like, ‘OK! Yes, you can!’”

Meanwhile, large canvases in the main gallery space are covered with oil and acrylic paints and printed backdrops dotted with an assortment of images: sleeping female figures; hands pointing, drawing and flashing peace signs; the sun at different stages of setting; birds in flight; wolves and deer in their natural habitats. Layered on top are paint splotches and streaks, as well as taped-on paper and vellum, blurring and obscuring the collage of figures underneath.

“Escape Artist,” left, “White Night” and “Feel Free,” are new paintings by Sarah Sze at Gagosian Beverly Hills.

(Ariana Drehsler/For The Times)

“One of the things I was thinking about was when we dream and then we wake up, there’s this extreme, fleeting moment where you’re trying to grasp the dream,” Sze said. “The dream is disappearing at the same time, and you’re trying to re-create those images.”

She went on to describe “a landscape turning into a different landscape, and then you’re falling, and then you’re turning, and then someone appears that you didn’t expect to be there.”

In addition to this spree of the subconscious, the artist offers glimpses of her creative process. Pooled on the ground below the canvases (and even dangling from the rafters above) is an assortment of the tools of her trade — from tape measures to paint scrapers. Brushes, pens and pencils lie next to the ripped cuffs of cotton workshirts, and drops of blue and white paint are splattered on the floor, extending the artwork beyond the wall.

Sze spent five days installing the show inside the gallery and the commonplace supplies incorporated into the pieces are what she dubbed “remnants of the workspace.”

“Sleepers,” a video installation Sze debuted in 2024, plays with the light entering through a gallery window. Images of sleeping heads and forest animals play amid the sound of cello notes and deep breathing.

(Ariana Drehsler/For The Times)

If the paintings act as snapshots of dreamscapes, “Sleepers,” the video installation she debuted in 2024, sets those images in motion. Dozens of hand-torn paper fragments connected by rows of string become miniature projection screens, each flashing with images of the same sleeping heads, busy hands and forest animals. These are interspersed with flashes of TV static and ocean waves, all set to the sounds of humming, disjointed cello notes and deep breathing.

Directly in the center, a slender vertical window — part of the gallery’s architecture — illuminates the otherwise darkened room with a pillar of natural light, further contributing to the ethereal nature of the piece.

Viewed at the right angle, the piece resembles a giant eye. It’s the perfect visual cue to get visitors thinking about what we see and how we see it.

Bad Bunny’s “Débi Tirar Más Fotos” was named album of the year at Sunday night’s 68th Grammy Awards — the first time a Spanish-language LP has won the Recording Academy’s most prestigious prize.

Bunny delivered the speech primarily in Spanish.

“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said as the audience rose to its feet.

“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” he said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, mami, for giving birth to me in Puerto Rico. I love you.”

“For all the people who have lost a loved one and even then have had to continue moving forward and continue with so much strength, this award is for you all.”

Intricately arranged with the sounds of the singer and rapper’s native Puerto Rico, “Débi Tirar Más Fotos” was released to rave reviews in January 2025 and quickly reached No. 1 on the Billboard 200 album chart. Last summer, Bad Bunny supported the project with a 30-date concert residency at San Juan’s José Miguel Agrelot Coliseum; he followed that with the announcement of a world tour that avoided the United States, in part, he told I-D magazine, because of his concern that immigration agents might turn up at shows.

Prior to Sunday’s win, “Débi Tirar Más Fotos” — the title translates in English to “I Should Have Taken More Photos” — was named album of the year at November’s Latin Grammy Awards. Next weekend, Bad Bunny (whose real name is Benito Antonio Martínez Ocasio) will headline the halftime show at Super Bowl LX in Santa Clara.

He won earlier in the night for música urbana album and global music performance.

The other LPs nominated for album of the year were Justin Bieber’s “Swag,” Sabrina Carpenter’s “Man’s Best Friend,” Clipse’s “Let God Sort Em Out,” Lady Gaga’s “Mayhem,” Kendrick Lamar’s “GNX,” Leon Thomas’ “Mutt” and Tyler, the Creator’s “Chromakopia.”

In 2025, Beyoncé took the prize with “Cowboy Carter.”

One way to honor your 93-year-old host: by calling him a “f— gangster” who’ll “slit your throat for a hit record.”

That’s how Monte Lipman big-upped Clive Davis on Saturday night at the Beverly Hilton, where Davis had convened an invite-only crowd of celebrities and music-industry insiders for his annual night-before-the-Grammys gala. Lipman, who runs Republic Records, was there to receive the Recording Academy’s Industry Icon award along with his brother and business partner, Avery; clearly, the commendation had gotten him feeling all warm and fuzzy about the record-biz machers who paved his way.

An incomplete list of stars in the Hilton’s ballroom for Saturday’s soiree: Joni Mitchell, Nancy Pelosi, Stevie Wonder, Colman Domingo, Frankie Valli, Martha Stewart, Lana Del Rey, Karol G, Brandi Carlile, Bill Maher, Teyana Taylor, Gladys Knight, Bryan Cox, Jeff Goldblum, Max Martin and — speaking of record-biz machers — Motown founder Berry Gordy, who at 96 had to have been the only person at the party with more experience on him than Davis.

Jennifer Hudson performs.

(Kayla Bartkowski / Los Angeles Times)

At least a few of these luminaries had come, no doubt, to see the Lipmans pick up their prize; among the many, many successes they’ve racked up in recent years include blockbusters by Taylor Swift, Morgan Wallen, Sabrina Carpenter, Chappell Roan, Post Malone and the lovable cartoon assassins of “KPop Demon Hunters.”

But mostly folks had come to schmooze and to take in the entertainment Davis had arranged.

As always, the show featured a blend of beloved old-timers and ascendant youngsters, including three of the nominees for the Grammys’ best new artist award: Sombr, pouting extravagantly through a pretend-sleazy “12 to 12”; Olivia Dean, downright luminous as a horn section added some swing to “Man I Need”; and Alex Warren, who’s beginning to look like he may never want to sing “Ordinary” again.

Sombr spins Olivia Dean during his performance.

(Kayla Bartkowski / Los Angeles Times)

Clipse and John Legend performed “The Birds Don’t Sing,” from the rap duo’s “Let God Sort Em Out,” which is up for album of the year at Sunday’s Grammys ceremony. The women of “KPop Demon Hunters’” Huntr/x turned up to sing “Golden,” which is nominated for song of the year.

MGK and Jelly Roll tag-teamed an homage to the late Ozzy Osbourne, while Jennifer Hudson saluted the late Roberta Flack; her typically virtuosic rendition of “The First Time Ever I Saw Your Face” brought the room to as close to quiet as it got all night.

Pusha T of Clipse, left, and John Legend perform.

(Kayla Bartkowski / Los Angeles Times)

There were also tributes to two living legends: Bernie Taupin and Art Garfunkel. For the former, Darren Criss sang “Bennie and the Jets” — just one of the classics Taupin co-wrote with Elton John — then brought out Laufey for a surprisingly frisky take on John and Kiki Dee’s disco-era “Don’t Go Breaking My Heart.” (Free idea: Somebody cast Criss and Laufey in a reboot of “Grease.”)

To honor Garfunkel, the country duo Dan + Shay performed “Mrs. Robinson” before throwing to the 84-year-old himself, who sauntered onstage in a tuxedo and Phillies ball cap, sat down on a stool and — after having read a bit of poetry scrawled on the back on an envelope — closed the show with a touching if slightly wobbly journey across “Bridge Over Troubled Water.”

Behold more pictures from Saturday’s event:

Art Garfunkel performs.

(Kayla Bartkowski / Los Angeles Times)

Clive Davis, left, addresses the crowd.

(Kayla Bartkowski / Los Angeles Times)

Karol G on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Adam Lambert on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Darren Criss, left, and Laufey perform.

(Kayla Bartkowski / Los Angeles Times)

Jelly Roll, left, and Bunnie Xo on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Monte Lipman, left, and Avery Lipman on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Olivia Dean performs.

(Kayla Bartkowski / Los Angeles Times)

It’s called Pakistan’s forgotten war. And it’s been running for decades in Balochistan, the country’s largest province by land area.

More than 100 people have been killed in another wave of violence this week.

The Balochistan Liberation Army (BLA) has claimed responsibility for the attacks, described as the deadliest so far.

The BLA has escalated its attacks in recent years, saying it is fighting for an independent Balochistan.

In Islamabad, the government blames what it says are its enemies for the violence.

So, what will it take to end the cycle of violence in Balochistan?

Presenter: Maleen Saeed

Guests

Raashid Wali Janjua – director of research at Islamabad Policy Research Institute

Sanaullah Baloch – Balochistan National Party leader

Ayesha Siddiqa – senior research fellow at Defence Studies Department at King’s College London

As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.

Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.

From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.

Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.

The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.

The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.

Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.

Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.

“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”

Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”

Though geared toward children, the movie drew a vast audience of all ages.

“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.

In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.

He said over the last 10 years, the role has become about more than just finding a song to match a scene.

“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”

The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.

Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.

The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.

“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.

Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.

According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.

“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.

Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.

Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”

“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.

“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.

Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.

When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).

“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”

Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.

If 31-year-old Puerto Rican rapper Bad Bunny wins the Grammy for album of the year Sunday, it will be the first time the award goes to a Spanish-language LP. A week later the singer, known as “the King of Latin Trap,” will headline the Super Bowl halftime show.

These twin feats by one of the world’s most famous performers — a proud Latino and a vocal critic of President Trump’s stance on immigration — plays out against the heartbreaking and chaotic backdrop of the federal government’s aggressive tactics on the streets of American cities, including Minneapolis, where two citizens were shot dead by federal agents.

This is likely why a painting by an L.A.-based Puerto Rican artist named Ektor Rivera, a reimagining of Emanuel Leutze’s iconic 1852 painting, ‘Washington Crossing the Delaware,” is attracting a wave of attention online. An Instagram post about the painting by Rivera — which features Bad Bunny alongside a host of other Puerto Rican cultural heroes, including Lin-Manuel Miranda, Sonia Sotomayor and Tito Puente — has more than 170,000 likes and 2.3 million views, spurred in part by the fact that Ricky Martin, who is also featured in the tableau, shared it.

Titled “The Discovery of Americans,” the 5’ x 8’ acrylic-on-canvas painting was commissioned by Seth Goldberg, a talent agent who spent his career working with Latin celebrities from his homebase in Miami. In a phone interview, Golberg said he felt disappointed by the controversy that erupted after the announcement that Bad Bunny would play at the Super Bowl — particularly when people didn’t seem to realize that as a Puerto Rican the singer is an American.

A detail of “The Discovery of Americans,” Ektor Rivera, acrylic on canvas, 2025.

(Ektor Rivera)

“And I thought that maybe if we reframe that Leutze painting with these cultural icons, maybe it changes who we see and celebrate as American, or at least makes a few people think about it a little more,” Goldberg said.

Rivera, who met Goldberg at a dinner with his manager five years ago, ran with the idea, placing a cast of Puerto Rican luminaries in the famous rowboat alongside Bad Bunny — who is draped in the Puerto Rican flag and standing in Washington’s place.

“As a Puerto Rican, I have U.S. citizenship, but I’m still asked if I have my green card,” Rivera said in a recent phone interview. “The people who voluntarily don’t want to learn about the great aportación [contributions] Latinos are giving to this country, and in my case, Puerto Ricans, is really frustrating, and how ICE is dealing with our people is something that is very sad.”

It is notable in the painting that the boat is literally breaking the ice on the river as it moves across the water, Rivera said.

Rivera — a graduate of the School of Plastic Arts and Design of Puerto Rico — is also an actor. He starred in a Puerto Rican production of Lin-Manuel Miranda’s early musical, “In the Heights,” during which time he met the famous actor and composer. Miranda and his father, Luis Miranda, later commissioned Rivera to paint a portrait of Rita Moreno, which now hangs in Centro de Bellas Artes de Santurce in San Juan.

The joy Moreno showed when the painting was unveiled has stayed with Rivera, who now lives and works in Santa Clarita. He is raising his children to know and love their Latin heritage — during a trying time when Latinos are often denigrated by the current administration.

Trump recently told the New York Post that he won’t be going to the Super Bowl this year, noting of Bad Bunny and the band Green Day, which will open the telecast, that he is “anti-them.”

“I think it’s a terrible choice,” Trump said. “All it does is sow hatred. Terrible.”

In Rivera’s painting, Levi’s Stadium in Santa Clara — where the Super Bowl will take place this year — can be seen on the horizon. Those in the boat are smiling. They are looking forward to being part of the mix. It’s a loving representation, filled with hope and possibility.

“We’re celebrating that we are putting our identity as Latinos on one of the major stages in the world,” said Rivera. “And that’s huge. That’s going to educate people, and make them interested.”

America, Rivera said, is not just for certain people.

“America is everybody. America is the world.”

I’m arts editor Jessica Gelt and I’ll be rooting for Bad Bunny at the Grammys this weekend. Here’s your arts and culture news for the week.

On our radar

“Creation” by Harmonia Rosales, 2025. Oil, gold leaf, gold paint and iron oxide on panel. 121.9 × 91.4 cm (48 × 36 in.).

(© Harmonia Rosales/ Elon Schoenholz Photography)

Beginnings: The Story of Creation in the Middle Ages
The Getty exhibition explores how people in the Middle Ages imagined the creation of the world through manuscripts, alongside works by LA-based artist Harmonia Rosales, who utilizes West African Yoruba mythology and Black resilience and identity.

Through April 19. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu

Tiffany Townsend performs Saturday and Sunday in Long Beach.

(Mia McNeal)

Crash Out Queens: A Tiffany Townsend Recital
The soprano officially kicks off the Long Beach Opera’s season with an exploration of women in opera that expands into a multidisciplinary collaboration with pianist Lucy Yates, dancer Jasmine Albuquerque, scenic designer Prairie T. Trivuth and more.
7:30 p.m. Saturday; 4 p.m. Sunday. Altar Society, 230 Pine Ave. in Long Beach. longbeachopera.org

Midori Francis and Noah Keyishian rehearsing for “Sylvia Sylvia Syvia” at Geffen Playhouse.

(Jeff Lorch)

Sylvia Sylvia Sylvia
A woman struggling with writer’s block and her own husband’s literary success takes refuge in the Boston apartment once occupied by Sylvia Plath and Ted Hughes in the world premiere of this tragicomic thriller from playwright Beth Hyland. Directed by Jo Bonney.
Wednesday through March 8. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

The week ahead: A curated calendar

FRIDAY

Soprano Masabane Cecilia Rangwanasha appears with the L.A. Phil Friday and Saturday.

(LA Phil)

Mahler, Bartók & Ravel
Dudamel Fellow Elim Chan conducts the L.A. Phil in a program culminating with Mahler’s Fourth Symphony featuring South African soprano Masabane Cecilia Rangwanasha.
11 a.m. Friday; 8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Miles Davis Centennial Concert
The Miles Electric Band, led by Emmy- and Grammy Award-winning producer/drummer Vince Wilburn Jr., features a fusion of Miles Davis alumni and next-generation talents, including Darryl Jones, Robert Irving III, Munyungo Jackson, Jean-Paul Bourelly, Antoine Roney, Keyon Harrold and DJ Logic, plus special guests.
8 p.m. Friday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org

Lifeline
Written by Robert Axelrod and directed by Ken Sawyer, this drama finds a mother volunteering at a suicide hotline following a life-altering event.
8 p.m. Fridays and Saturdays; 2 p.m. Sundays, through March 1. The Road Theatre, NoHo Senior Arts Colony, 10747 Magnolia Blvd. roadtheatre.org

101 Dalmatians
The 65th anniversary release of the Disney animated classic gets a one-week run in movie palace splendor. Tickets are $10 and include a complimentary small popcorn.
10 a.m., 1, 4 and 7 p.m. daily, through Thursday. El Capitan Theatre, 6838 Hollywood Blvd. elcapitantheatre.com

“metal mettle metal mettle” by Steve Roden, 2020. Acrylic with paper collage

(Robert Wedemeyer/Courtesy Vielmetter Los Angeles)

Steve Roden/Sophie Calle
A pair of new exhibitions open today in Orange County: ‘Wandering” focuses on the late Los Angeles–based artist Steve Roden’s works on paper, presenting drawings and collages as forms of travel without a set destination; and “Overshare” is a survey of French conceptual artist Sophie Calle’s photography, text, video and installation work that mines intimate relationships and chance encounters.
Through May 24. UC Irvine Langson/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art

Sweeney Todd
Jason Alexander directs Stephen Sondheim and Hugh Wheeler’s musical thriller about the Demon Barber of Fleet Street and has assembled a topflight cast led by Tony nominee Will Swenson and Olivier Award winner Lesli Margherita.
Through Feb. 22. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. lamiradatheatre.com

SATURDAY
Garrick Ohlsson and Richard O’Neill
Pianist Ohlsson and violist O’Neill team up for an evening of Schubert and Rachmaninoff.
7:30 p.m. Saturday. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org

SUNDAY
Common Ground
The Los Angeles Master Chorale performs the world premiere of “The Beatitudes” by five-time Emmy Award-winning composer Jeff Beal, who will play the piano and flugelhorn, and Henryk Górecki’s “Miserere,” inspired by the 1980s Polish Solidarity movement.
7 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY

Jacob Aune, left, and Sam McLellan in the North American tour of “The Book of Mormon.”

(Julieta Cervantes)

The Book of Mormon
The latest national tour of the Broadway smash comes to town. When the show had its L.A. debut at the Pantages in 2012, Times theater critic Charles McNulty wrote, “Just know that this exceedingly naughty, though in the end disarmingly nice, show is devised by the minds behind ‘South Park’ and that risqué ‘Sesame Street’ for theater-loving adults, ‘Avenue Q.’ In other words, leave the kids at home with a baby-sitter”
Through Feb. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. Feb 24-25. The Granada Theatre, 1214 State St., Santa Barbara. thebookofmormontour.com

Adams, Cheung & Lanao
John Adams curates the third installment of the LA Phil Etudes, highlighting the orchestra’s principal musicians in solo pieces by contemporary composers Francisco Coll, Samuel Adams, Nico Muhly, Sílvia Lanao and Anthony Cheung.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Dr. Strangelove
Steve Coogan plays four roles in this screening of the National Theatre stage adaptation of the 1964 Stanley Kubrick film recorded live in London.
7 p.m. The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org

THURSDAY

Cheyenne Jackson plays the Wallis Thursday night.

(Vince Truspin)

Cheyenne Jackson
The Broadway heartthrob performs a “musical memoir” with tunes made famous by Frank Sinatra, Elvis Presley, Sam Smith and Chappell Roan, plus his own song “Ok,” detailing his father’s unconditional love for his gay son.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org

— Kevin Crust

Culture news and the SoCal scene

Eddie Izzard brings Shakespeare’s “Hamlet” to Los Angeles in a new solo staging, adapted by Mark Izzard and directed by Selina Cadell.

(Carol Rosegg)

Eddie channels tragedy
Times theater critic Charles McNulty weighed in on the gender-fluid British comedian Eddie Izzard’s solo performance of “Hamlet,” running through Sunday at the Montalbán Theatre in Hollywood. McNulty calls the show “a daredevil feat of memory, theatrical bravado and cardio fitness,” noting that, “As a spectacle, it’s as exhilarating as it is exhausting. The thrill of seeing a fearless, indefatigable performer single-handedly populate the stage with the myriad figures of this masterwork never lets up. But fatigue can’t help setting in once it becomes clear that this marathon drama will be delivered in the broadest of strokes.”

Father and son
McNulty also headed to Matrix Theatre’s Henry Murray Stage to catch a Rogue Machine world premiere of L.A. writer Justin Tanner’s solo show, “My Son the Playwright.” McNulty calls Tanner “one of the signal voices of L.A.’s wild and free intimate theater scene.” The show is divided into two acts, one that presents the father’s side of the relationship, and the other, the son’s. “Tanner plunges into these ostentatiously autobiographical roles, heedlessly, hectically and without a psychiatric net,” McNulty writes.

Academy cuts
Arts and entertainment writer Malia Mendez got the scoop that the Academy Foundation laid off all five staffers with its Oral History Projects team, “effectively dissolving the department responsible for conducting and preserving interviews with notable members of the film industry.” In a statement posted on social media, the Academy Foundation Workers Union, AFSCME Local 126, called the cuts “a sad and reckless choice.” (Also, two of the laid-off staffers were placed in other roles in the organization.)

Breaking Glass
I jumped on the news that composer Philip Glass abruptly canceled June’s world premiere of his Symphony No. 15 “Lincoln” at the Kennedy Center, saying its message does not align with the vision for the venue under the Trump administration. “Symphony No. 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the Symphony. Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership,” Glass wrote Tuesday in a letter to the board that was shared with The Times.

The hits keep coming
Speaking of the Kennedy Center: As the artistic losses continue to mount at the beleaguered performing arts center in the wake of President Trump’s takeover — and renaming — of the venue, the Washington Post reported that Kevin Couch, who was recently announced as the new senior vice president of artistic programming for the venue, resigned less than two weeks later. No reason was given, and Couch declined a Post request for comment.

50 is nifty
In happier local news, San Diego’s Opera Neo — a summer opera festival and young artist training program — celebrating its 50th anniversary season, and has announced its upcoming lineup. Highlights include Antonio Vivaldi’s, “Arsilda,” Louise Bertin’s “Fausto” and Gioachino Rossini’s “Il turco in Italia.”

— Jessica Gelt

And last but not least

I am resurfacing this handy 2023 guide to the best Italian sub sandwiches in L.A. It is not a coincidence that I am hungry and planning what to eat for lunch.

If anyone told Mariah Carey ahead of time that Friday night’s MusiCares Person of the Year tribute would feature a live auction — an auction in which a meet-and-greet with the singer in Abu Dhabi was offered to the highest bidder — you sure couldn’t tell by observing her reaction.

Seated near the stage at the Los Angeles Convention Center, a camera feeding close-up images of her face to several screens, Carey appeared genuinely surprised by an auctioneer’s description of the backstage hangout in which she’d be expected to participate next month.

But such is the life of a queen.

Watching Carey respond in real time was actually the best thing about this annual Grammy-weekend gala meant to honor an artist’s work and philanthropy. Though the 56-year-old herself sang for only a minute or so at the end of the show, Carey was a delight to behold as a series of admirers took turns performing some of her many hits (and a handful of deep cuts).

Jennifer Hudson performs.

(Emma McIntyre / Getty Images)

The look of game recognizing game as Jennifer Hudson crushed “Vision of Love.” The tenderness with which she regarded her old friend Busta Rhymes doing their “I Know What You Want.” The slowly dawning realization that this heavily tattooed white man named Teddy Swims was really going to pull off “Without You.”

“That was terrifying,” Swims said when he finished the song — an all-timer of a power ballad with a lengthy chain of custody going back through Carey, Harry Nilsson and the doomed Welsh band Badfinger.

Best of all was the sight of Carey proudly singing along to Foo Fighters and Taylor Momsen as they blazed through a pair of tunes from the cult-fave grunge album she secretly recorded in the mid-1990s under the name Chick.

Dave Grohl of Foo Fighters, left, and Taylor Momsen perform.

(Matt Winkelmeyer / Getty Images)

Other acts on the bill included Adam Lambert, who went slow and moody for “Can’t Let Go”; the British girl group Flo, which gave an airy performance of “Dreamlover”; and Laufey, who kept a watchful eye on a giant prompter scrolling lyrics at the back of the room as she did “It’s Like That.”

Then there was Billy Porter, who took “Always Be My Baby” way over the top with wild vocal runs that made up for what they lacked in precision with — well, mostly with volume.

Carey took the stage late in the evening to give her thanks to “so many friendly and familiar faces — people I’ve worked with, people I’ve long admired, even people I thought I’d never see again.” After her speech, Jon Batiste popped out to lead a random assortment of stars through an all-hands finale of “All I Want for Christmas Is You,” which recently set a new record for the most weeks at No. 1 on Billboard’s Hot 100.

Charlie Puth? Gayle King? Rita Wilson? Carey looked pleased(-ish) to see each one.

Some actors who appear right on the edge of becoming household names and who happen to be hosting “Saturday Night Live” for the first time might be leery of letting a famous relative steal their spotlight.

Alexander Skarsgård let it happen twice in the same “SNL” episode when his father Stellan Skarsgård appeared in a returning sketch about immigrant fathers (in which Cardi B also appeared) and one about a Scandinavian film’s giggly production. To be fair, though, his dad is currently Oscar-nominated in the supporting actor category for “Sentimental Value.”

If the Alexander of the Skarsgård was bothered, it sure didn’t show; the first-time host of the 1,000th episode of “SNL” was loose and committed throughout, even if not all the sketches hit. And yes, before you go racing to Peacock to confirm, Alexander gave his father Stellan a big ol’ hug in the closing goodbyes. Aww.

If “SNL” shied away last week from directly addressing the quickly devolving situation in Minneapolis last week, it found its footing with a cold open about ICE that didn’t rely on James Austin Johnson’s impression of President Trump. Instead, it featured former cast member Pete Davidson as border czar Tom Homan taking over command of clueless ICE officers. This was followed, after the monologue, by a well-executed sketch about a mom (Ashley Padilla) slowly changing her mind about the Trump administration.

Elsewhere, the guest host played a coach to a skittish Olympics luge athlete (Jane Wickline), a preteen girl with aggression issues, a Viking who feels like everyone is forming cliques during a bloody raid, a guy who uses Cards Against Humanity jokes to make himself seem funny, and Tarzan trying to get out of a relationship with Jane (Sarah Sherman).

As the younger Skarsgård’s career has shown (“Murderbot,” “True Blood,” “The Northman”), he’s used to playing odd, extreme characters and “SNL” was a nice fit.

Musical guests Cardi B performed “Bodega Baddie” and “ErrTime.” A tribute card for Catherine O’Hara, who died on Friday, was shown before the goodbyes. O’Hara hosted “SNL” in 1991 and 1992 and appeared in a short “SNL” film (with Laurie Metcalf!) in 1988.

For the first time in a while, Trump didn’t dominate the cold open of the show; instead, Davidson came back to the show, wearing a bald cap to portray Homan. Homan points out the irony that things have gotten so bad in Minneapolis with ICE that he’s now considered the voice-of-reason adult in the room. ICE commanders (Kenan Thompson, Andrew Dismukes, Johnson, Ben Marshall, Mikey Day and Jeremy Culhane) claimed their orders were “wildin’ out” and wondered if they’re supposed to be releasing the Epstein files. As Homan pointed out, the ICE raids were to distract from those, but now the Epstein files are being released to distract from ICE. Davidson is remembered more for his “Weekend Update” segments and his Chad character on “SNL,” but he does some nice work here even if he breaks character at one point.

Skarsgård’s could have spent his monologue discussing his TV and movie roles, like his upcoming film “Wicker” or his role in the new Charli XCX mockumentary “The Moment,” but instead he focused on the band members who appear on stage but rarely get to speak on the show. He interviewed some of the band members, poorly, and then grabbed a saxophone to do some inspired fake playing. It was silly and fun, a nice start to Skarsgård’s night.

Best sketch of the night: Mom’s having a change of heart, but you can’t say anything

For most of this season you can count on at least one sketch to feature a standout performance from featured player Ashley Padilla, who has become a ringer for playing women who are either very deluded and are trying to pretend they’re not, or who are trying to manage other people’s reactions to her odd behavior. For this sketch, she gets to do both, playing a mother who, after a lengthy preamble, reveals to her adult children and husband (Skarsgård) that she’s starting to change her opinion about Trump’s policies, from immigration to guns to trans people. As her kids struggle to hold back their reactions, lest she swing back the other way, her husband just wants to go to Red Robin for his birthday scoop. Best line: “If I hear a single ‘I told you so,’ I will go see the ‘Melania’ movie tonight!”

Also good: Having the right body shape for Olympics-level luge, even if it’s a corpse

Wickline, another featured player, has become a polarizing cast member among fans, some of whom simply don’t get her humor or appreciate her performances, while others love her quirky songs and see her as bringing a unique vibe to the show. For this Olympics-themed pre-taped piece, she gets to have a lot of fun as a reluctant luge competitor who is terrified to go down the mountain and tries to fake being sick to avoid going to Milan. This might remind you of Patti Harrison’s perfect performance in the “Capital Room” sketch on “I Think You Should Leave,” but Wickline manages to make the character her own.

‘Weekend Update’ winner: They scored again ahead of the Super Bowl

Sherman was promoted to “Weekend Update” weather correspondent in a segment that included a surprise appearance from “30 Rock” star Jack McBrayer, but it was Dismukes and Padilla as a couple who just had sex winning the week with their awkward, infatuated banter, which tied in nicely to a discussion about next week’s big game between the New England Patriots and the Seattle Seahawks. The couple predict that the Patriots will be on top the first half, but at some point the Seahawks will come from behind and dominate the Patriots for a little while. “Maybe the Patriots get tired and ask the Seahawks to play themselves for a while,” Dismukes suggests. Things go off the rails when he says no matter what happens, someone’s getting a ring, which puts tension on the budding relationship. “I didn’t say that night!” he explains to a disappointed Padilla. The two previously hooked up for the first time in the Glen Powell episode.

MYLEENE Klass proved the ultimate multi-tasker as she stripped to her gym kit for a series of cartwheels and handstands while presenting her radio show.

The Smooth FM anchor, 47, took a break from the mic to show off her flexibility in-between tracks.

The broadcaster, TV star and campaigner donned a black crop top and matching leggings, paired with white socks and trainers.

She brushed her poker-straight brunette locks back with her hands after laying down her earphones.

The Hear’Say songstress then pulled off an impressive cartwheel before transitioning into a handstand against the door frame.

Myleene even managed to flash a huge smile as she posed upside-down.

OH MY

Myleene Klass reignites Victoria Beckham feud as she backs Brooklyn

NO KLASS

Myleene Klass outs vile ‘granny’ troll who told her ‘I hope you die from cancer’

In her caption, she wrote: “My producer always goes the extra mile.

“Come off air then cartwheel into the door frame”.

Back on solid ground, Myleene then posted a sultry snap showing her posing on her radio presenter seat.

In another clip of her acrobatic feat she joked: “What do you get up to when the music plays?”

In another recent video, the Pure and Simple hitmaker flashed her abs in a tight two piece as she flipped into her plush vehicle.

She was snapped doing a handstand before flipping into a six-figure plush white Mercedes G Wagon.

The action-packed ad campaign was made for American footwear brand Skechers, who have been partnered up with her for more than three years.

Posting the promotional clip on her Instagram, Mylene wrote in the caption: “Slipping into 2026”.

She also added details of her leather co-ord to the post, which was also Skechers branded.

Myleene entered a long-term deal with the sneaker makers in August 2022 acting as a brand ambassador for the UK and Ireland branch of the company.

MY OH MYLEENE

Myleene recently told how her iconic white bikini – worn on her debut I’m A Celeb stint – has been her money-spinner.

It came after she posed in a similar swim two piece to recreate her iconic waterfall moment 20 years on.

The classical music performer and Loose Women panelist sizzled in the striking two piece in a new Instagram snap – and joked the hype around the sexy garment had “put my kids through school”.

She starred in the ITV jungle series back in 2006 and became known for donning the item during her showers Down Under.

She has re-created the look many times since the swimwear’s on-screen debut on I’m A Celeb 20 years ago, with the star even previously stating “the white bikini is my business”.

Last month, the mum of three flashed her abs in the Freemans product as she struck a series of poses while on holiday.

The Trump administration has provided around $300 million to the Rodriguez government after seizing tankers and selling oil stockpiled in the country. The funds are being managed through accounts in Qatar and will be subject to audits by US agencies, Rubio told the Senate on Wednesday.

The idea that the US can somehow remote-control its way into a coherent audit of Venezuelan public spending defies imagination. Venezuela has never been an easy place to follow money. Road construction in Venezuela was for much of the 20th century a famous form of campaign finance that bankrolled politicians through well-greased kickback systems. Even in the country’s more prosperous days, public hospitals were notorious rat’s nests of corruption that allowed suppliers of everything from aspirin to X-ray machines to mark up prices for illicit gain and political financing.

Chavismo put this on steroids. Because there has been no alternation of power since Chávez’s 1998 election, no one in a position to audit government books has ever had an incentive to. The government comptroller’s office, once an institutional check on the ruling party, has for decades been used primarily to disqualify opposition politicians from holding office on the basis of fabricated accounting discrepancies.

The Chávez era saw the wholesale unraveling of basic parliamentary oversight of spending. State oil company PDVSA went from being an internationally respected company to a piggy bank used for everything from food imports to housing development. Multibillion-dollar slush funds with no rules about spending and no reporting requirements to the general public came to manage more than parliament. Bilateral financing agreements with China, Russia, and Iran led to secretive and inscrutable financing arrangements that made the country’s borrowing a black box.

Rampant corruption and damaged financial accountability do not mean that outsiders cannot be involved there. When the war in Ukraine broke out, international agencies famously relaxed what had been stringent standards around Ukrainian corruption. Aid agencies and nonprofits working in Haiti have had to quietly make concessions to the realities of operating there. As did the organizations that worked to reduce hunger in Venezuela during the crisis years. Expecting to maintain Swiss-level accounting standards in these types of environments is a recipe for making sure nothing gets done.

Which is a bit of what Rubio is promising by putting the US Export-Import Bank in charge of following every last dollar that Venezuela receives from US-brokered oil sales. Nobody was able to fully follow the money in Venezuela even when they were trying. After almost 30 years of systematically undermining public transparency, a remote-controlled, third-party audit conducted by foreigners from thousands of miles away doesn’t stand a ghost of a chance.

The inevitable conclusion is that the United States will simply have to start turning a blind eye to what actually happens with the money. With clear marching orders to get the economy up and running and oil production moving as fast as possible, there simply won’t be time to stand on accounting formalities. Ask too many questions and the progress will start to slow down. It seems like an unexpected consequence of a transition under tutelage: the Trump administration will quietly become part of the chavista machine.