Over the years, there’s been tears, laughter and heartwarming stories as each family has a touching tale on why they need the team’s help.
This week (April 14), fans tuned in for the sixth episode of the BBC show with the Mann-Monro family.
However, the instalment marked the last episode in the series, with Dilly Carter issuing an update on Sort Your Life Out’s future. Taking to Instagram, she shared a photo of the team together, writing: “AND THAT’S A WRAP. Series 6 of @sortyourlifeout is over and out.
“A hugely emotional last episode going out with a bang. This series has been unbelievable and we are so grateful to every family who has taken part and opened up their homes to us and let us in.
“This show relies on YOU. And we are so beyond grateful we get to help transform such amazing families’ lives forever.”
Content cannot be displayed without consent
She then went on to praise the team on the show behind the scenes who work ‘tirelessly’ to ensure everything runs smoothly.
Wrapping up her caption, Dilly confirmed Sort Your Life Out will be back once again in the future. She continued: “But for now, it’s time to start getting ready for the next series. Will we be coming to your road? Keep an eye out.
“Thank you all from the bottom of our hearts, and to my gang, my TV family, I love you all and can’t wait to see you in 2 weeks.”
It wasn’t long before people commented on the post, with many praising the series so far. One person said: “Great show, can’t wait for the next series.”
Another added: “Miss you all until next time.” Someone else commented: “So sad it’s finished, best telly ever xxx”
One fan wrote: “Love the programme and love the team!! Please come back soon.” As another shared: “What an amazing series, absolutely loved it – emotional but so uplifting.”
Sort Your Life Out is available to watch on BBC iPlayer.
CBS hasn’t given up on producing an original late-night show — despite easing Stephen Colbert out the door.
“The Late Show With Stephen Colbert” ends next month after CBS canceled the popular program, citing financial pressures. The network’s top two executives told reporters during a press briefing in Hollywood on Wednesday that the network still wants to be a player in the 11:35 p.m. hour.
CBS struck a one-year deal with media mogul Byron Allen to bring his “Comics Unleashed” syndicated show to the prominent time slot once occupied by David Letterman until Colbert took the mantle a decade ago. President Trump, in social media posts, has taken credit for getting Colbert, whom he dislikes, tossed off the air.
Colbert’s final broadcast will be May 21.
Beyond the stop-gap arrangement with Allen, network executives acknowledged they don’t have a long-term plan for the late-night hours — but development executives are working on it.
“We are still going to develop other ideas, other concepts,” said George Cheeks, whose role as chair of TV Media at Paramount includes running CBS. He added that Allen’s programs, including “Funny You Should Ask” at 12:35 a.m., will allow the company to immediately turn a small profit — an increasingly critical mandate as CBS prepares to absorb the high cost of keeping NFL football on its schedule.
“If we are going to go back into that space, we have to go back into that space with a different financial model,” Cheeks said, in contrast to a show set in a theater with a band, live audience and large group of writers and support staff to stage a nightly show with numerous guests.
“I grew up in late night — I believe in late night,” Cheeks said. “The reality is that the reach is still there, but the reach is primarily on YouTube.”
It’s become increasingly difficult for CBS or other major networks to make money on a topical show when the majority of the audience, particularly younger viewers, watch snippets on YouTube.
CBS Entertainment President Amy Reisenbach acknowledged the network wasn’t actively developing a replacement late-night show; instead the effort was in the brainstorming stage. “They’re just conversations at this point,” she said.
CBS can make money on “Comics Unleashed” because Allen pays CBS for the hours and covers production costs. In return, Allen’s company receives most of the commercial spots in the programs, which his company can sell to advertisers to defray its costs.
Cheeks dismissed concerns that Allen’s programs, which have been in syndication for years, would not be viewed as “CBS-level quality.” He called Allen “a great partner.”
“Comics Unleashed” has run at 12:35 a.m., but CBS is moving it one hour earlier on the schedule, where it will have more exposure and benefit from running immediately after TV stations’ local late news. “Funny You Should Ask” will air in the 12:35 a.m. time slot.
“I actually think the shows are strong. … They have a point of view,” Cheeks said of Allen’s programs. “It’s a change in format … a change from what people are used to.”
It’s been a rough year for CBS.
The last 12 months have included a nasty spat with Trump over a “60 Minutes” segment with Kamala Harris, which Paramount ended by paying the president $16 million. Then came the tempest over Colbert’s cancellation just days after he called the Trump settlement “a big fat bribe.”
The network got new owners — David Ellison and Skydance Media — in August and Ellison promptly installed a new boss at CBS News, Bari Weiss, who has made talent moves to shake up the division.
Because of last year’s Paramount change in ownership, the NFL has the ability to reopen the network’s TV license deal, which is expected to increase the cost of retaining the NFL by as much as $1 billion a year, potentially cutting into CBS’ programming budget.
“Capital allocation is always a major consideration,” Cheeks said. “But I would harken back to something that David Ellison said recently, which was content investment was mission critical to the future of this company.”
CBS unveiled its new fall schedule Wednesday, announcing that fan-favorite LL Cool J was returning to star in a new show, “NCIS: New York,” with Scott Caan, and the introduction of a new legal drama, “Cupertino,” from hit-making executive producers Robert and Michelle King. CBS will serve up two other new shows, including a comedic drama, “Einstein,” and a half-hour vampire family comedy, “Eternally Yours.”
Cheeks also acknowledged that, for the first time in 18 years, CBS would not end the television season in first place in viewers. This year, that honor goes to NBC, which broadcast a blockbuster February with the Super Bowl and the Winter Olympics.
BBC bosses are poised to offer Sara Cox the Radio 2 Breakfast Show job after Scott Mills’s sacking, insiders told The Sun.
Sources said veteran broadcaster Sara, 51, was seen as the “heir apparent” for the role — which is widely regarded as the best job in radio.
Sign up for the Showbiz newsletter
Thank you!
Sara Cox is being lined up by BBC bosses as the frontrunner to replace sacked Scott Mills on the Radio 2 Breakfast showCredit: GettyA downcast Scott, who hosted the show since January 2025, until being sacked last month, was seen out for the first time todayCredit: Darren FletcherInsiders said they expected Sara, who joined the BBC in 1999 as a Radio 1 DJ, to be offered the job this summerCredit: Getty
Mills, who had hosted the show since January 2025, was dismissed last month.
“Since Scott left, she has been the name which has been discussed as the best candidate and everyone at Radio 2 is saying she will be offered it.
“Sara has made a huge success of her drivetime slot and is hugely popular at the station, plus she’s hosted the Breakfast Show as a stand-in before.
“The BBC won’t be rushing this through as they want the dust to settle. But Sara is the one in line and, as far as her colleagues are concerned, she is the best person for the job.”
Sara, who began a TV career in the 90s, featured on Radio 2 as a cover host for various shows in 2012 while still working for Radio 1.
The mum-of-three landed her first permanent Radio 2 show, hosting Sounds of the 80s on Saturday nights, the following year.
She went on to replace Simon Mayo as the drivetime presenter in 2019 and stood in on the Breakfast Show in 2025.
Families, in their various flavors, have been essential to television since that light first flickered on. They may be ideal or nightmarish, or both, or in between, and we take to them — be they Waltons or Addamses or Simpsons — according to our own experience or desires, having known families of our own or wanted something other than what we had.
In “Schitt’s Creek,” Dan Levy co-created — with his father, Eugene, yet — one of the medium’s greatest family comedies. It was a show that grew over time from a basic premise about rich people who lose their money and are forced to live at close quarters in adjoining motel rooms to a paean to love, understanding and acceptance. It swept the comedy categories at the 2020 Emmys, including acting awards for both Levys, Catherine O’Hara and Annie Murphy and writing and directing trophies for Dan.
“To family” are in fact the last words spoken in the first season of “Bad Mistakes,” Levy’s noisy, funny new show, co-created with Rachel Sennott and now streaming on Netflix — though given what precedes it, it’s less a blessing than a curse. Levy plays Nicky, a pastor at a sparsely attended suburban New Jersey church of no evident denomination. He’s out as gay, but supposedly celibate; that he has a boyfriend, Tareq (Jacob Gutierrez), is known only to Tareq; this, of course, creates a secret, which will create pressure, which will create comedy.
Sister Morgan (Taylor Ortega) is an elementary school teacher, a job that doesn’t quite jibe with everything else we see about her — it’s barely represented, anyway, summer having come — and a very longtime boyfriend, Max (Jack Innanen), who has decided that now is the moment to propose. She had once tried acting in New York, which means that she lived a wilder life once and is something of an improviser. Their mother, Linda (Laurie Metcalf), who owns a hardware store, is running for mayor and the campaign is being managed by extra daughter Natalie (Abby Quinn).
The series begins as their grandmother is dying, and at Linda’s command, they rush out to buy her a present — Linda is trying to squeeze in an “early birthday” before her mother passes. And because she is that sort of person, Morgan shoplifts what she imagines is a cheap necklace from a convenience store. (Attendant Yusuf, played by Boran Kuzum, will have much to do.) The necklace isn’t cheap, it turns out, for no particularly good reason, and the convenience store isn’t just a convenience store, but a kind of waystation for stolen goods run by local Russian mobsters. As a result, Morgan and Nicky find themselves forced to run errands for them, under threat of death, or worse.
The show gets very complicated on its way to a circular semi-conclusion; there is a lot going on, with Linda’s mayoral ambitions and various relationship issues. (Elizabeth Perkins plays Max’s mother, bridging storylines.) But it’s a good ride, and classic in its way; searching the phrase “get mixed up with gangsters” brings forth a host of old comedies. Through the dodgiest situations, brother and sister do not hesitate to argue. Nicky would love to be anywhere else, while Morgan finds it invigorating. Though it is all improbable, the parts do mesh neatly; they make television sense.
Finally, the series rests on the shoulders of the three principal players, who are just a pleasure to watch; the camera obliges by moving in close. Levy brings a soft-spoken breathlessness you may recognize from his David Rose on “Schitt’s”; his softly muttered “OK,” which might just mean “stop talking,” is almost a trademark. Ortega brings a kind of poignance to her reborn wild child, while Metcalf plays Linda with a kind of small-town operatic intensity, eyes popped and pronunciation precise — she’s like a country cousin to O’Hara’s Moira Rose — as if she were onstage pitching to the back row of the theater.
Michelle Pfeiffer and Elle Fanning in “Margo’s Got Money Troubles,” premiering April 15, 2026 on Apple TV.
(Allyson Riggs/Courtesy of Apple)
In “Margo’s Got Money Problems, premiering Wednesday on Apple TV, Elle Fanning plays the title character, a college student flattered into bed by her married-with-children writing professor, Mark (Michael Angarano), despite my shouting at the screen for her not to do it. Soon she is pregnant, and soon after that the essentially single mother of baby Bodhi, unable to find work or the time to write. (As the heroine, we assume her talent.)
Presumably in search of some normalcy, Margo’s mother, Shyanne (Michelle Pfeiffer), a former good time girl — but still sparkly — has become engaged to Kenny (Greg Kinnear), Christian, square and sincere; the Ralph Bellamy of the piece, you are not asked to take him quite seriously (though Kinnear plays him straight). Shyanne’s ex-husband is Jinx, a former professional wrestler, played by Nick Offerman with the low-key affect of Ron Swanson, dialed down even further; depression and drug addiction will do that to you. Fresh out of rehab, he trades a championship belt for a motorcycle and joins the household; though he left Margo early, and unlike Shyanne, he proves to have a marvelous, easy way with Bodhi. (The baby himself, or babies — they use twins for this job — are themselves marvelous.)
Also in residence is roommate Susie (Thaddea Graham), a chirpy cosplayer — and coincidentally Jinx’s biggest fan — whose skills will become valuable as Margo, needing cash, sets off into the world of OnlyFans. First picking up tips describing followers’ penises in terms of Pokémon (no explanation has been thought necessary), she pivots to video, mounting increasingly elaborate sexy sci-fi productions alongside Susie (sets and costumes), Jinx (narrative advice, stunt coordinator) and OnlyFans veterans KC (Rico Nasty) and Rose (Lindsey Normington), a fabulous tag team to whom Margo turns for advice. (Margo does seem to take things over, but it’s her name in the title, so there you go.) This introduces an element of Mickey and Judy, my uncle’s got a barn, let’s put on a show comedy. More important, it creates a team, melding the family you make with the family you have.
It’s as sweet as can be. Apart from sleeping with one’s professor — students, do not do this! — the show is positive about just about everything: motherhood, daughterhood, professional wrestling, second chances, sex work, cosplaying and the way art shows up in strange places. Only Marcia Gay Harden, as Mark’s mother, Elizabeth, is an outright villain, and you will hate her.
The series was created by David E. Kelley (Mr. Michelle Pfeiffer), from Rufi Thorpe’s 2024 novel, once again under the umbrella of Nicole Kidman’s Blossom Films (following their collaborations on “Big Little Lies,” “Nine Perfect Strangers” and “Love & Death”), with its house style of well-upholstered capital-Q Quality (as distinct, in its pop-cult, way, from prestige). (Kidman has a small role as a wrestler-turned-lawyer and it’s been a while since I’ve seen her this well used.) “Margo’s Got Money Problems” can be terribly sentimental, almost corny — the climax is pure Hollywood — but undeniably effective. And if its mix of comedy and drama can be a little destabilizing, you won’t need to worry about where it ends up.
Last fall, “Dr. Pimple Popper” suddenly became a patient herself.
Dr. Sandra Lee, the reality TV dermatologist and surgeon known for tackling ick-inducing skin situations on camera, had a bad day a week before Thanksgiving 2025 while she was taping new episodes of her show at her Upland office.
“I had what I thought was a hot flash. I got super sweaty and didn’t feel like myself,” she told People in an interview published Tuesday. She said she finished the shoot and then headed to her parents’ nearby home, where that evening she experienced shooting pains in one leg and later had trouble navigating down a flight of stairs in the middle of the night.
When she awakened the next day, she said, her left side wasn’t working properly and she was having trouble speaking clearly. It was definitely more than a hot flash.
Her doctor dad — also a dermatologist — told her to get herself to an ER, where she had an MRI that showed evidence of an ischemic stroke, where a vessel supplying blood to the brain gets obstructed. The diagnosis was a shock.
“As a physician I couldn’t deny that I had slurred speech, that I was having weakness on one side,” she said, “but I was like, ‘Well, this is a dream, right?’”
Lee, 55, said unmanaged cholesterol levels and high blood pressure were likely contributors to the stroke, plus the stress of balancing her real-life practice with the demands of “Dr. Pimple Popper.” She returned to production in January, she said, though she was more than a little freaked out.
“I don’t like that I don’t have total control of my left hand or the grip wasn’t as strong. If I feel like I’m not at my best — it’s very scary,” Lee said.
Her neurologist told the outlet that Lee’s symptoms are pretty much gone. Lee said she still notices slight differences when she speaks.
The TV doc is on blood thinners now and is still doing some physical therapy after spending two months post-stroke working through PT and occupational therapy. Lee had to make sure her left hand, among other body parts, was functional and that her balance and movement bounced back.
She does, after all, do precise procedures on camera for the Lifetime audience.
“People watch the videos over and over again because it helps them go to sleep at night,” she told People. But, she added, “Others watch it like it’s a scary movie or a roller coaster.”
WASHINGTON — The Kennedy Center’s new leadership wants to prove to critics the building is damaged beyond simple repair. It’s starting with Congress.
Matt Floca, the performing arts institution’s new president, is leading a series of tours this month that show water damage and intrusion to expansion joints, marble slabs and exterior pavers. Participants are guided through the building’s water and HVAC systems along with parking garages and loading docks that are said to be in need of repair.
The sessions began earlier this month while Congress was in recess and included staff for a bipartisan group of lawmakers, including Senate Minority Leader Chuck Schumer and House Democratic Leader Hakeem Jeffries, the top Democrats on Capitol Hill. A representative for Washington Mayor Muriel Bowser was also included on the tour.
Similar access has been provided for several corporate and individual donors and in the coming weeks, Floca is expected to provide tours for the lawmakers themselves and members of the media.
Assessing a suddenly controversial operation
Once one of Washington’s relatively few apolitical spaces, the Kennedy Center has become a source of controversy during President Trump’s second term. Shortly after returning to office, Trump ousted the institution’s previous leadership and replaced it with a handpicked board of directors.
The president’s name was added to the building’s facade and its programming took a Trump-friendly turn, serving as a venue for events such as the premiere of First Lady Melania Trump’s documentary, “Melania.”
Trump’s move to shutter the building for two years starting in July, which was approved by the board last month, has spurred lawsuits and an outcry that the closure is merely a response to plunging sales as artists canceled Kennedy Center performances in droves.
The tours are intended to cut through that and show that the Kennedy Center, which began construction in 1964, is in genuine need of a fundamental update.
“As the July closure approaches, the Trump Kennedy Center is leading with transparency and making sure Congress and the public understand what’s at stake and why the work can’t wait,” Floca said in a statement.
In addition to staff for Schumer, Jeffries and Bowser, the recent tour included representatives for Senate Majority Leader John Thune (R-S.D.), Sens. Shelley Moore Capito (R-W.Va.), Mark Warner (D-Va.), Susan Collins (R-Maine), and Sheldon Whitehouse (D-R.I.), along with Reps. Sam Graves (R-Mo.) and Rick Larsen (D-Wash.).
By virtue of their positions, these lawmakers are ex officio members of the Kennedy Center’s board. Kennedy Center spokesperson Roma Daravi said working with both parties was a “top priority” as the institution implements Trump’s vision for the renovation.
None of the participants discussed the tour on the record.
Need for repairs is not disputed
Those who are arguing against the Kennedy Center’s closure haven’t disputed the need for routine maintenance and repairs. They say the more substantial changes Trump has hinted are in the works should go through the typical review process that governs many major projects in the nation’s capital.
Trump has suggested changes at the Kennedy Center could be so dramatic that the steel supporting the structure could be “ fully exposed.”
According to a lawsuit filed last month against Trump, the Kennedy Center and others in the administration, “Demolition, new construction, major reconstruction, major renovation, or major aesthetic transformation of the Kennedy Center would permanently destroy historic fabric, degrade the monumental core’s vistas and public grounds, and compromise the Kennedy Center’s memorial purpose and architectural integrity, causing permanent, irreversible harm that no subsequent remedy can fully undo.”
The Kennedy Center is entering a critical period before its anticipated July closure, which will produce staff reductions.
In the meantime, the Kennedy Center is still hosting shows, including the musical “Chicago,” which Trump attended this month. Performances of “Moulin Rouge! The Musical” are on the calendar from June 18 through July 5. Comedian Bill Maher will be presented with the prestigious Mark Twain Prize for American Humor on June 28, just before the closure begins.
The Kennedy Center is part of Trump’s broader effort to leave a lasting imprint on the Washington cityscape. He demolished the East Wing of the White House last year and wants to replace it with a ballroom, an effort that is also tangled in litigation.
The president also unveiled plans on Friday for an arch that would stand between the Lincoln Memorial in the east and Arlington National Cemetery toward the west and within a traffic circle connecting Washington with northern Virginia.
1 of 3 | Kevin Warsh speaks during a press conference in 2014. Warsh, a nominee for chairman of the Federal Reserve, has more than $100 million in assets, recent filings show. File Photo by Will Oliver/EPA
April 14 (UPI) — Kevin Warsh, the presidential pick for the next Federal Reserve chairman, has wealth greater than any other recent chairman, his financial disclosures released Tuesday show.
The filings were part of the usual consideration process for the role. Warsh, if confirmed, would succeed current Chairman Jerome Powell, whose second term ends May 15. A Senate hearing on the matter is expected to take place April 21.
CNBC reported that Warsh’s disclosure forms show that the nominee has about $192 million in assets in combination with his wife, Jane Lauder, who is an heir to the Estee Lauder fortune. Warsh’s solo assets equal about $135 million to $226 million. These numbers show a large range because they can include variable items such as bonds, stocks and other assets.
By comparison, Powell’s financial filings for 2025 showed assets of between $19 million and $75 million, while former Chairman Ben Bernanke, who left office in 2014, submitted filings that year of about $2.3 million in assets, CNBC reported.
If the Senate confirms Warsh, he has said that he will divest a large amount of assets, of which about 1,800 were listed in the forms. Some of these were undisclosed because of cited “preexisting confidentiality agreements,” The New York Times and CNBC reported.
Warsh, who served as a governor at the Federal Reserve from 2006 to 2011, also said that he would resign posts such as his role as financial adviser to investor Stanley Druckenmiller, as well as several other positions including a board seat at UPS.
Warsh will face the Senate Banking Committee in the planned hearing before a full Senate vote. However, an ongoing Department of Justice investigation into Powell has further complicated matters. Sen. Thom Tillis, R-N.C., a member of the Senate Banking Committee, has said he will not vote on Warsh or any other nominee for the role until the investigation is completed.
Speaker of the House Mike Johnson, R-La., presents the family of Benjamin Ferencz with his Congressional Gold Medal during the Holocaust Memorial Museum’s Days of Remembrance ceremony at the U.S. Capitol on Tuesday. The gold medal was presented posthumously to Ferencz, who served in the Army during World War II and prosecuted Nazi war criminals during the Nuremberg Trials. Photo by Bonnie Cash/UPI | License Photo
Reacher star Alan Ritchson will be headlining a new reality series for Netflix from the producer of Survivor and The Apprentice
Reacher star Alan Ritchson to host intense Netflix show from Survivor producer(Image: PRIME VIDEO)
Alan Ritchson, the star of Reacher, is set to host a new, intense reality survival series for Netflix.
The acclaimed actor, known for playing the iconic action hero on Prime Video and for the Netflix film War Machine, will challenge a group of high-profile contestants — from influencers to “headline-makers” — in a series of outdoor challenges designed to test their “resilience and grit.”
The currently untitled series will strip away modern luxuries, forcing players to rely on their instincts and determination. “Do they have what it truly takes to endure? Will they risk losing their carefully curated personas in the process? And who will break first under the pressure?” a synopsis from Netflix Tudum teases.
Ritchson, an experienced outdoorsman himself, will guide the contestants, “pushing them beyond their limits and into the unknown.”
The show is executive produced by Jay Bienstock, known for launching major reality hits like Survivor and The Apprentice, guaranteeing addictive viewing.
He is also executive producing, along with Julie Pizzi, Rupert Dobson, Gayani Wanigaratne, and co-executive producer John Faratzis.
The upcoming series will be joining Netflix’s already huge catalogue of popular reality shows, which is only set to grow over the coming years.
Fans have devoured the likes of Squid Game: The Challenge, Million Dollar Secret, and Is It Cake? so far.
Netflix is also in production on The Golden Ticket, inspired by Charlie and the Chocolate Factory, and Win the Mall, a thrilling retail rivalry competition hosted by Haley Baylee, both set to be released this year.
A synopsis for the former reads: “To achieve sweet success in this high-stakes social experiment, players will have to adapt and strategize, as a golden ticket only gets you so far. Wonka’s guests must withstand games, tests, and temptations designed to prove their instincts, resilience, and ability to thrive in the chaos of a retro-futuristic dreamscape.”
Get Netflix free with Sky for Bridgerton Season 4
This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more
‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
And Win the Mall will follow “10 teams of expert shoppers competing to gain control of storefronts, increase their spending power, and outmanoeuvre rivals in the ultimate retail experience.”
Keep your eyes peeled for more updates on Netflix’s must-watch TV tournaments.
A NEW Euphoria feud has emerged as Zendaya’s “tension” with a show star has been revealed – and it’s not with Sydney Sweeney.
This comes as insiders told the Daily Mail Zendaya has a rocky relationship with the actress, who apparently flirted with her man Tom Holland on set.
Sign up for the Showbiz newsletter
Thank you!
Zendaya looked incredible in a daring black gown as she attended the Los Angeles Red Carpet Premiere of HBO drama EuphoriaCredit: GettySydney Sweeney and her co-star Zendaya are reported to be feuding over ‘personal issues’Credit: Getty
But now, it seems Zendaya, 29, has clashed with another member of the Euphoria team.
Eager fans have long questioned why the new series of the show has taken so long to air – but it seems the real reasons have finally surfaced.
The creator of the HBO series, Sam Levinson, recently told fans the delay between season two and three was a result of strikes, the in-demand cast and finding the right way to pay tribute to Eric Dane and Angus Cloud.
However, a source told Vanity Fair the delay between series sparked serious tension behind the scenes, creating a rift between Sam and Zendaya.
Vanity Fair’s source claimed the once close collaborators grew apart and Zendaya was less involved with development of the third season.
While she had an executive producer credit for the first two seasons, she doesn’t have an EP credit for this new instalment.
Euphoria, set in the fictional town of East Highland, California, follows high schoolers, who struggle with the strains of love, loss, sex, and addiction.
The new series premiering today, is set five years later with the group of friends, now adults, grappling with faith, the possibility of redemption, and the problem of evil.
Another source told Vanity Fair that while actress Zendaya doesn’t have an EP credit, she has been vital the show’s development and has approved storylines.
The source said: “Zendaya had an incredibly demanding shooting schedule in 2025 and has several major projects that release this year so she was unable to commit to serving as an executive producer this season.”
The real reason for the delay between series two and series three of the HBO show appeared to be revealed by show creator Sam LevinsonCredit: Getty
Just last week at the HBO show’s premiere Spider Man star Zendaya was seen seemingly dodging being snapped with Sam on the red carpet.
In the video posted to TikTok, Zendaya was spotted dashing off with her team after Sam asked her to pose for a picture.
The stunning star, who plays Rue Bennett on the series, looked incredible as she flashed some serious side-boob in a daring floor-length black gown.
Her dress featured extreme cut-outs down the side to expose both her back and the side of her chest.
As she made her way inside the venue to celebrate the show’s release, eagle-eyed onlookers also spied the star’s brand new tattoo tribute to her partner Tom.
Zendaya had a small “t” tattooed just above her ribcage.
Zendaya appeared to snub Euphoria creator Sam Levinson at the red carpet premiere in LACredit: TikTok/BuzzfeedUK
Sabrina Carpenter has apologized after sparking backlash for mistaking a Coachella fan’s traditional Arabic cheer for yodeling, which she described as “weird.”
The Grammy winner was performing her first headlining show at Coachella on Friday night when an audience member suddenly let out a high-pitched cry called a zaghrouta.
“My apologies i didn’t see this person with my eyes and couldn’t hear clearly,” Carpenter wrote Saturday on X. “My reaction was pure confusion, sarcasm and not ill intended. Could have handled it better!”
She continued: “Now i know what a Zaghrouta is! I welcome all cheers and yodels from here on out.”
What happened?
The misunderstanding took place between songs. As applause for her previous number, “Please, Please, Please,” faded and Carpenter sat down at the piano for her next number, someone in the crowd suddenly let out a loud trill.
“I think I heard someone yodel,” Carpenter said into the microphone. “Is that what you’re doing? I don’t like it.”
“It’s my culture,” a voice from the audience shouted.
“That’s your culture … is yodeling?” Carpenter responded with a quizzical frown.
“It’s a call, it’s a call of celebration,” the audience member could be heard saying.
“Is this Burning Man? What’s going on? This is weird,” Carpenter replied, before continuing her next song,“We Almost Broke Up Again Last Night.” It was the singer’s first live performance of the single from her new album, “Man’s Best Friend.”
What was the public response?
Carpenter made the public statement after an online uproar. Her apology on X was a quote reply to a post calling her reaction to the fan’s cheer “insensitive and Islamophobic.”
The singer was “mad disrespectful for mocking the zaghrouta,” wrote another X user. “What’s worse is the blatant racism that followed and the laughs of the audience,” they continued.
Carpenter’s apology was generally well-received online, with somefans thanking her for taking accountability. Carpenter’s representatives did not immediately respond to a request for comment.
Carpenter has gone from a child actor known for her role as Maya on Disney’s “Girl Meets World” to pop stardom in the past few years. During her debut at Coachella in 2024, she vowed to return as a headliner. Her Coachella show on Friday was an elaborate Hollywood-themed production — dubbed “Sabrinawood” — packed with references to classic movies, including a dance from 1987’s “Dirty Dancing,” and celebrity cameos.
What is a zaghrouta?
A zaghrouta is a loud, rhythmic sound made by quickly moving the tongue while letting out a high-pitched cry.
Shakira, who was born and raised in Colombia and has Lebanese roots, previously made headlines in 2020 for letting out a zaghrouta during the Super Bowl LIV halftime show.
Nesreen Akhtarkhavari, an associate professor and director of Arabic studies at DePaul University in Chicago, told the Chicago Tribune at the time that the ululation is a Middle Eastern expression of joy made during weddings, sporting events and protests.
Walker Scobell just wants people to stop sending death threats to every teenage girl who might know him — and anybody else.
The 17-year-old “Percy Jackson and the Olympians” star announced Sunday on social media that he will be skipping his prom and called out those who are threatening everyone who could potentially be in his orbit because of where they live.
“Just to let everyone know, I will not be attending prom,” Scobell, who plays the titular demigod in the Disney+ series, wrote in a message posted to his Instagram Story. “Please stop sending death threats to EVERY teenage girl who could remotely be associated with me based on their proximity to where I live. It’s not fair to them or their families.”
“Maybe also just stop sending death threats in general,” he added. “That’s just not cool. Kinda weird I have to say this.”
“Kinda weird” indeed.
Based on the book series by Rick Riordan, “Percy Jackson” is a coming-of-age twist on ancient Greek mythology that follows Sobell’s title character as he learns he is the half-human son of Poseidon and what that means for him. Scobell was 13 when he was cast in the show.
The actor previously said that it felt “a little bit weird” to go back to school after the first season of the series had been released but it helped that he’s been going to the same school since the fourth grade.
“Because I feel like I know everybody so well, and I’ve known them for such a long time that … it’s weirder to act like it’s weird,” Scobell told People earlier this year. “I feel like you just accept it right away, and everyone has, which has been super nice for me.”
This is not the first time the “Percy Jackson” franchise’s so-called fans have been out of line.
Aryan Simhadri, who portrays Percy’s best friend Grover Underwood in the series, spoke out last year about an unsettling encounter with a handsy fan when a group of “40 drunk college girls” recognized him.
“I was feeling pretty uncomfortable, so I put my hands in my back pockets,” Simhadri told Entertainment Weekly. “And then she reached around and put her hand inside of my back pocket, with my hand already in there. There’s not enough room in the back pocket of jeans for more than one hand. She lingered there a little longer than I would have liked. Not that I would have liked it at all.”
And Leah Jeffries, who plays Percy’s other best friend, Annabeth Chase, was the target of racist backlash when her casting was announced in 2022. Riordan, who also co-created the show, slammed the attacks in a blog post at the time, saying, “We should be able to agree that bullying and harassing a child online is inexcusably wrong.”
TV producer Sid Krofft, the puppeteer and co-mastermind behind fantastical 1970s Saturday morning television shows like “H.R. Pufnstuf” and “Land of the Lost,” has died. He was 96.
Krofft died in his sleep on Friday at the home of his friend and business partner Kelly Killian, she announced on Instagram. His youngest brother and business partner, Marty Krofft, died in 2023.
“I loved Sid with my whole heart. The last six years of my life were devoted to him, and his to me,” Killian wrote. “In that time, he taught me more than I could ever put into words — about the art of Hollywood, the magic of the stage, and the depth and complexity of human nature. I wish so very much that I had more time with him.”
“Sid Krofft was an icon who did what he loved most until the very end — being out in public with his legions of fans,” his publicist Adam Fenton said in a statement. “Sid never slowed down, attending his final show where it all began just last November in his home state of Rhode Island. Sid was a beacon of light and will be greatly missed.”
Sid co-created 1960s and ’70s children’s TV shows that featured colorful and quirky characters like Weenie the Genie, Horatio J. HooDoo and Cha-Ka the ape-boy. Together, he and Marty produced through their production company, Sid & Marty Krofft Pictures, popular series, including their television debut and cult hit, “H.R. Pufnstuf.”
“H.R. Pufnstuf,” a combination of live-action and puppetry that Sid once referred to as “our first baby,” follows the adventures of a young boy, a talking flute and a 6-foot-tall dragon. That was the start of a television enterprise. The brothers went on to create more (mostly short-lived) shows, including “Lidsville,” about a teenage boy who falls into the top hat of a magician. He finds himself in the titular Lidsville, a land of living hats.
Other shows included “The Bugaloos,” about four teenage musicians with wings and antennae, “Electra Woman and Dyna Girl,” which follows the adventures of a superhero and her sidekick, and “Pryor’s Place,” a live-action children’s show starring comedian Richard Pryor.
The Krofft puppets frequently made cameos on other well-known shows during the 1970s and ’80s.
Most recently, the beloved character H.R. Pufnstuf appeared in the brothers’ 2016 Nick Jr. show, “Mutt & Stuff,” about an animatronic dog at a canine school.
The brothers also produced other beloved shows such as “Sigmund and the Sea Monsters,” “Land of the Lost,” “D.C. Follies” and the prime-time variety shows “Donny and Marie” and “Barbara Mandrell and the Mandrell Sisters.”
Sid, left, and brother Marty Krofft pose with some of the life-size puppets created for their syndicated series “D.C. Follies” in Los Angeles in 1987.
(Reed Saxon / Associated Press)
Because the shows often featured eccentric and larger-than-life characters, Sid once told The Times that people were convinced the ideas came from using psychedelics. But he insisted the concepts were born during his daily runs along the Los Angeles coastline.
“I’m a runner, and I thought of them during my runs on the beach at Santa Monica,” Sid said. “That’s where they came from.”
While the 1970s were the defining decade for the Krofft brothers, they got their start as puppeteers decades prior.
In a long-standing rumor, Sid and Marty were said to be fifth-generation puppeteers. In an interview with The Times, Sid confessed that the whole thing was a lie concocted by a publicist in the 1940s. Their father, Peter Krofft, was a clock salesman and joined Sid when he was on tour as a teenager.
Sid was born July 30, 1929, in Montreal. The brothers immigrated to New York City from Canada with their father. Sid started working as a professional puppeteer at age 10. By the time he was 15, he had joined the Ringling Bros. and Barnum & Bailey Circus as “the world’s youngest puppeteer.” By his late 20s, he was working as the opening act for big industry figures like the Andrews Sisters, Judy Garland and Cyd Charisse. That’s around the time he hired his brother — who was seven years younger and a salesman — as his assistant.
“I desperately needed an assistant and saw this as a great opportunity to bring out my brother Marty,” Sid said of his youngest brother. “That single moment in my life is what started our long-running career together.”
They later created cabaret-inspired “Les Poupées de Paris,” which opened in 1961 at the Gilded Rafters in the San Fernando Valley, then played at Hollywood’s P.J.’s. It toured the country throughout the ’60s.
While Sid was the creative force behind their projects, Marty was the brains behind the business operation.
Sid Krofft sits for portraits at his home in Los Angeles in 2021.
(Brian van der Brug / Los Angeles Times)
Sid wrote a tribute to his brother for The Times after his death.
“Marty and I were oil and vinegar,” he wrote. “We worked in different ways, but if you shook us up, we were a great dressing.”
The brothers’ relationship was publicly known to be rocky at times. “It’s not easy for two brothers to work together,” Marty told The Times.
Their shows were low budget; shot on sets that were once thought to be outdated by the 1980s. But the brothers maintained the rights to their creative properties, and some of their most popular stories had revivals or remakes.
In 2009, Universal Pictures adapted “Land of the Lost” into a $100-million box-office flop about the tales of a family stranded in a dinosaur-ridden jungle.
In 2018, the brothers were honored with a lifetime achievement award at the Daytime Emmys, and in 2020, they received stars on the Hollywood Walk of Fame. In 2021, Kroff resurfaced in the public eye with an Instagram Live show called “Sundays With Sid.” Marty created his own YouTube series soon after called “Mondays With Marty.”
The Olivier Awards returned to the BBC for the first time in 23 years on Sunday to celebrate the very best of London’s world-class theatre at Royal Albert Hall
Bethany Whittingham and Angie Quinn Screen Time Reporter
22:42, 12 Apr 2026Updated 22:44, 12 Apr 2026
Nick Mohammed presented the Olivier Awards from the Royal Albert Hall (Image: BBC)
The Olivier Awards has returned in spectacular fashion for its 50th anniversary at the Royal Albert Hall.
The finest of London’s world-renowned theatre productions were honoured during Sunday’s (April 12) ceremony.
Standout moments from the magnificent evening of theatre included performances by this year’s nominees, including Paddington The Musical, Into the Woods, and Evita.
Audiences were also treated to breathtaking celebrations marking the 40th anniversary of Phantom of the Opera and the 20th anniversary of Wicked.
Within minutes of the programme beginning, fans rushed to X (formerly Twitter) to express their excitement that the prestigious award ceremony was returning to the broadcaster online.
One viewer wrote: “Currently watching the Olivier Awards 2026 on BBC Two right now. Great acceptance award speeches about making sure that there are still charities to fund talented and new individuals through the acting door, in particular, the next generation.”
Another enthused: “Olivier Awards on the BBC starting strong. Performance of Phantom of the Opera, then calling in Sir Ian McKellen and Dame Helen Mirren to present the first award for Best Revival, which goes to All My Sons.” A third contributed: “The BBC really know how to do it right, don’t they. Can’t stop watching the Olivier Awards tonight!”
Dominating the evening with an impressive seven victories was heavyweight Paddington: The Musical, securing Best New Musical, Best Actor in a Musical, Best Director, and Best Supporting Actor/Actress in a Musical.
Evita also enjoyed major success, with Rachel Zegler taking home Best Actress in a Musical alongside the prize for Best Theatre Choreographer.
Kenrex also triumphed with Best Actor for Jack Holden and Best Sound Design, while Punch collected Best New Play and Best Actress in a Supporting role for Julie Hesmondhalgh. Additionally, Into The Woods had plenty to celebrate after securing Best Musical Revival and Best Lighting Design, reports the Express.
Meanwhile, All My Sons claimed Best Supporting Actor for Paapa Essiedu and Best Revival, while actress Rosamund Pike also secured Best Actress for Inter Alia. Elsewhere, Dame Elaine Paige received this year’s Special Award in recognition of her contribution to musical theatre.
Some of the entertainment industry’s biggest names attended the prestigious ceremony to present the coveted awards, including Sir Ian McKellen and Dame Helen Mirren, Lord Andrew Lloyd Webber, Amelia Dimoldenberg, Strictly star Johannes Radebe and Eurovision star Sam Ryder, amongst others.
Whether it’s a track that ushered them through heartbreak or an original tune that reminds them of their loved ones, the singers are given the opportunity to share their stories through music.
Pop stars Paloma Faith and Sam Ryder act as the contestants’ mentors, judging their performances in a hidden location away from the crowds. The winner will ultimately perform on stage at London’s Hackney Empire.
But it wasn’t the singers who caught viewers’ attention during the series premiere. Fans were quick to note that Your Song has a very similar format to The Piano, another talent show by the network.
Taking to X, formerly Twitter, one fan penned: “This is giving a cross between The Voice and the Piano. #YourSong.”
Another agreed: “So new #YourSong is just the amazing #Piano series but without the piano??? Think I’d rather have The Piano as used to host and judges etc….but will give this a go ..let’s see.”
Someone else, who was a fan of The Piano, added: “#YourSong I watched all of The Piano episodes. Not sure I’ll stick with this though but I’ll see what the first few singers are like..”
Hosted by Claudia Winkleman and pianist Lang Lang, the series similarly features amateur musicians, although they perform pieces on a piano. The judges also observe the contestants from a nearby room, before selecting finalists for a major end-of-show concert.
Despite spotting the similarities, however, some fans have shared positive reviews of the new show. “The singers on this are quite good tbf,” wrote one, with another adding: “What a performance from Elliott.”
Elliott, 17, was one of the first performers of the competition. He hails from Liverpool, which was the show’s very first stop. There, singers performed everything from chart-toppers from Sam Fender to original songs.
They also opened up about how each tune carried them through difficult times, which left the judges visibly moved.
So this is how we find out Justin Bieber is a YouTube Premium subscriber.
The 32-year-old teen-pop survivor headlined Coachella on Saturday night, and for roughly half an hour in the middle of his set, what Bieber did was sit behind a laptop and sing along to his old music videos — often an octave down from where he recorded them — as he searched up the songs on YouTube and played them over the festival’s state-of-the-art sound system.
YouTube Premium, that is, given that he (and we) faced no ads during the performance.
Share via
Expectations were insanely high for this show — Bieber’s first large-scale concert after a few years he spent in the pop-star wilderness recovering from various health ailments of both the physical and mental variety.
Invite-only warm-up gigs he played over the last couple of weeks in L.A. led to widespread speculation that at Coachella he might play only material from last year’s “Swag” and “Swag II” comeback albums.
And indeed that’s what he did for the first half-hour or so, singing songs like “All I Can Take,” “Speed Demon” and “Butterflies” — and singing them with extreme precision — accompanied by prerecorded backing tracks; after that, he brought out Carter Lang and Dylan Wiggins — two of his closest “Swag” collaborators — to do more of the “Swag” material “up close and personal with you guys,” as he put it.
“This is a night I dreamed about for a long time,” he said, dressed in a red hoodie, shorts and Paddington-gone-Balenciaga rain boots.
Together the three did gorgeous Christian-youth-group white-soul renditions of “Things You Do” and “Glory” and “Everything Hallelujah,” the last of which Bieber used to shout out his wife, Hailey Baldwin, who was in the crowd and made herself available to Coachella’s roving cameras.
Then: “Feels like we gotta take you guys on a bit of a journey,” Bieber said. “You guys remember this song?”
That was his own cue for a YouTube deep dive — it started with “Baby” and included “Never Say Never” and “Beauty and a Beat” — that made you wonder about the unresolved trauma he’s still dealing with from his child-star days. (Second night in a row for that, by the way, after Sabrina Carpenter on Friday.)
“How far back do you go?” he asked the crowd at one point. “Are you really with the s—?”
Bieber went on to play much-memed videos of himself running into a revolving door and himself falling off a stage; that led to an unfortunate little digression about the paparazzi and their rapacious ways.
“These guys won’t leave you alone, bro,” he said before playing that famous video of the guy freaking out over the double rainbow.
The final portion of the show had Bieber doing “Yukon,” then “Devotion” with Dijon — the vocals! — then “Essence” with Tems and Wizkid.
“Tonight has been beautiful,” Bieber said before bringing out Mk.gee to close with “Daisies,” and he was right: This was a radical reframing of what a headlining Coachella performance is supposed to be, and I loved it.
Last month’s 6-1 victory over Montenegro in Llanelli was Wales’ first competitive success since they beat the Republic of Ireland in December 2024 to book a place at Euro 2025, the maiden women’s major championship in the nation’s history.
They were beaten in all three games at the tournament, with the trio of losses part of a 12-game winless run which ended last December courtesy of a creditable friendly win over Switzerland.
And though Montenegro were swatted aside, Wilkinson was not entirely satisfied with her team’s display in that game either.
As a result, she believes there is room for improvement this week.
“Four points from the first window is not a bad thing at all – we’re very pleased with it,” she said.
“But I think there’s this step up that I expect from the team and our standards.
“I hope that no-one here has ever heard anything different from me… that performance is what I think I want to be judged on, because that leads to consistency which leads to real change.”
This week saw the publication of The Times’ tremendous package on the imminent opening of Los Angeles County Museum of Art’s new David Geffen Galleries. The nearly $724-million new building designed by Pritzker Prize-winning architect Peter Zumthor, which opens to members on April 19, with general admission beginning May 3, has been a lightning rod for split opinions for nearly two decades — and it seems not much has changed.
Each article attracted its fair share of reader comments — for and against — the new building. I’m rounding up nine that best reflect reader consensus. (Note: Comments don’t have formal names attached.)
1. “Ugh. I hate that building. It does nothing to activate the street itself and Wilshire should be an active urban street with thousands of people walking. The design is a puddle of oil seeping high above and across the boulevard that conflicts with its surroundings. For all of that gross amount of money spent it should be universally positively recognized. But it’s not and most of the citizens that have commented about it don’t appear to be too happy with a building its creators expect to exist for hundreds of years. What a blotch.”
2. “One will always wonder: what would Frank have done if he had ended up with the commission for replacing LACMA’s core campus. Did he ever venture to tell anyone what approach he might have pursued?”
A high priest of design has given Los Angeles a plebian concrete maze (period) which demands that visitors ascend one story above the ground plane for the sake of art. Rather than the prospect of random wandering, this respondent wonders whether Mister Gehry may have otherwise had no fear of paying homage to the classical idea of hierarchy, would have elevated our better angels and given us a singular or particular reason (aspiration) to go upwards at a far greater extent, first off, then return to the ground plane mixing formal and random paths.
With Disney Hall he became an emotional hierarch of the city and his discountment from this project will always remain a great tragedy. He understood us.”
3. “I love LACMA’s collection and have been going several times a year for a long time. Very excited to check out the new galleries. Contrary to a lot of other commenters, I find the architecture of the new building fresh and exciting, and I appreciate how it hangs over Wilshire in a manner that incorporates the museum directly into the city.”
4. “I loved the old museum. I really hope I’m wrong, but I’m afraid the new one will be disappointing. Less display space, chaotic organization and galleries that on paper look like warehouse spaces make me wonder how successful the new museum will be. I look forward to visiting and finding out for myself.”
5. “I’m amazed that it is almost 11:00 AM and I am posting the first comment here. Does nobody reading the L.A. Times care about this very expensive reimagining of our County Art Museum, $125 million of which was funded by our taxpayers? What I want to know now is whether any these 17 pieces are adjacently-placed in some idiosyncratic curatorial thematic scheme that will elude both common sense and intuition of most museum visitors? How is this reduced gallery capacity with ever-changing displays providing access to art to the people that helped to fund it?”
6. “I look forward to visiting this museum and experiencing its uniqueness.”
7. “It’s one of the worst decisions in art-world history. Destroy perfectly functional galleries and spend hundreds of millions on smaller galleries. And they are ugly. It’s a mockery of art to place a beautiful painting on those concrete walls.”
8. “I knew there would be a bunch of negative Nellies in the comment section lol. I LOVE the new building and interior spaces (as pictured) I can’t wait to see and experience the unique curatorial displays!”
9. “How exciting for Los Angeles! I can’t wait to see it and love that we now have such a world class forward thinking art museum in L.A. Money well spent.”
I’m Arts editor Jessica Gelt, getting the conversation started. Here’s your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings of L.A.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY Blue Kiss An SAT tutoring session takes unexpected twists and turns when a teacher learns his student is not who she claims to be in this drama by playwright Stephen Fife. Directed by Mike Reilly. 8 p.m. Fridays and Saturdays; 2 p.m. Sundays, through May 17. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica. ruskingrouptheatre.com
Camerata Pacifica Principal pianist Gilles Vonsattel performs his second solo recital of the season featuring three piano sonatas by Beethoven. 7 p.m. Friday. Music Academy of the West, 1070 Fairway Road, Santa Barbara; 8 p.m. Sunday. Zipper Hall, 200 S. Grand Ave., downtown L.A. cameratapacifica.org
Danish String Quartet and Danish National Girls’ Choir Two of Denmark’s cultural treasures team up for an evening that includes a new work by Pulitzer Prize-winning composer David Lang. 7 p.m. Friday. Granada Theatre, 1214 State St., Santa Barbara. artsandlectures.ucsb.edu; 8 p.m. Saturday. Segerstrom Center for the Arts, 615 Town Center Drive, Costa Mesa. philharmonicsociety.org
Lise Davidsen and Freddie De Tommaso The celebrated opera singers return backed by an all-star orchestra of classical musicians. 7:30 p.m. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
History of the Tango Violinist Martin Chalifour, in musical dialogue with guitarist Mak Grgic, reveals the evolution of Argentina’s iconic style. 8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Installation view, “Instant Theatre: Rachel Rosenthal and King Moody,” 2026. Roberts Projects, Los Angeles.
(Paul Salveson/Courtesy of the artist and Roberts Projects)
Instant Theatre: Rachel Rosenthal and King Moody Archival material and design elements set the scene for this exhibition exploring the experimental theatre movement founded by Rosenthal in 1955 and continued with her husband into the 1960s, an antecedent to the performance art of the 1960s and 1970s. Through May 23. Roberts Projects, 442 S. La Brea Ave. robertsprojectsla.com
Spectacular Brooding Writer, dancer and experimental filmmaker Harmony Holiday explores Black grief in this multimedia exhibition involving the preparation of a solo dance piece. On Wednesdays at noon, Holiday will take Katherine Dunham Technique classes with choreographer Bernard Brown in the gallery. Noon-6 p.m. Wednesday-Sunday; Through July 5. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Turangalîla Australian conductor Simone Young leads the L.A. Phil, featuring Jean-Yves Thibaudet on piano and Cynthia Millar on the theremin-like 1920s instrument ondes martenot, in Olivier Messiaen’s symphony inspired by the tragic romance of Tristan and Isolde. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Tyshawn Sorey Trio Featuring the Pulitzer Prize-winning composer and multi-instrumentalist, pianist Aaron Diehl and bassist Harish Raghavan, this modern jazz ensemble riffs on original compositions and breathes new life into the American Songbook. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
SATURDAY The Baptist Witches of Shelbyville Mamie Gummer and Gigi Bermingham star in a new Southern Gothic comedy written by Julie Shavers and directed by Daniel O’Brien. 8 p.m. Saturday; April 17-18, April 25, May 1. Whitefire Theatre, 13500 Ventura Blvd. Sherman Oaks. whitefire.stagey.net
The Ifugao people of the Philippines leaving a harvest, from the immersive exhibition, “Mountain Spirits: Rice and Indigeneity in the Northern Luzon Highlands, Philippines.”
(Fowler Museum)
Mountain Spirits: Rice and Indigeneity in the Northern Luzon Highlands, Philippines An immersion into the world of the Ifugao, an Indigenous Filipino group known for high-altitude farming, via this exhibition’s carved guardians, ritual bowls, woven blankets, farming tools, soundscapes and video installations. Opening, 6-9 p.m. Saturday; Walkthrough, 1 p.m. Sunday; “Decolonizing Philippine History” talk, 6-8 p.m. Wednesday. Fowler Museum at UCLA, 308 Charles E. Young Drive North. fowler.ucla.edu
Mutate L.A. Dance Project presents this selection of multi-medium performances curated by Masha Cherezova, whose relationship to dance changed dramatically when she was diagnosed with acute myeloid leukemia. The evening includes performances from Skylar Campbell, former principal dancer of Canada National Ballet, and dancer Jaclyn Oakley, USC BFA student Garris Munez in a world premiere choreographed by Cherezova, and comedian and breast cancer survivor Julia Johns, plus film screenings from various artists. All profits will be donated to Blood Cancer United. 8 p.m. 2245 E. Washington Blvd., Los Angeles. ladanceproject.org
OperaFest LA The diverse festival returns to celebrate the city’s rich opera community. Participating companies and venues include Beth Morrison Projects, LA Opera, Long Beach Opera, Overtone Industries, Roy and Edna Disney CalArts Theater, Synchromy, the Industry, the Wallis, and USC Thornton School of Music. The opening week features selected performances from various groups and a panel discussion at the Wallis; Long Beach Opera commemorates the release of the first commercial recording of Anthony Davis’ Pulitzer Prize-winning opera “The Central Park Five,” which was commissioned and premiered by LBO in 2019 and remounted in 2022; and the Industry presents composer Veronika Krausas and Her Rogue’s Gallery performing selections from her work, including “Hopscotch,” “Ghost Opera,” “The Mortal Thoughts of Lady Macbeth.” Kickoff Panel & Performance, 4 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. 6 p.m. Saturday. “Celebrating the Central Park Five Opera,” 440 Elm, 440 Elm, Long Beach. Veronika Krausas, 7:30 p.m. Thursday. Monk Space, 4414 W. 2nd St., Los Angeles. OperaFest LA continues through May 30. operafestla.org
Temporal Echoes The Los Angeles Chamber Orchestra and music director Jaime Martín are joined by violinist Anne Akiko Meyers for the West Coast premiere of Eric Whitacre’s “The Pacific Has No Memory” and Vaughan Williams’ “The Lark Ascending.” a timeless ode to lyricism and light. Music Director Jaime Martín unveils Juhi Bansal’s celebratory new work for Sound Investment’s 25th anniversary, followed by the searing intensity of Shostakovich’s Chamber Symphony and the sparkling brilliance of Prokofiev’s “Classical” Symphony. A program of passion, poetry, power, and unforgettable resonance. 7:30 p.m. Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org
A Weekend with Bong Joon Ho The Oscar-winning filmmaker hosts screenings of the 2007 thriller “Zodiac,” with special guest, director David Fincher, and his own 2025 sci-fi satire “Mickey 17.” “Zodiac,” 7:30 p.m. Saturday; “Mickey 17,” 6:30 p.m. Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SUNDAY Chamber On The Mountain The duo Dyad — violinist Niv Ashkenazi and bassoonist Leah Kohn — performs their own arrangements of selections from Ernest Bloch, Wolfgang Amadeus Mozart, Niccolo Paganini, Irving Berlin, Bruce Babcock, Johann Sebastian Bach, Camille Saint-Saëns and George Gershwin. 3 p.m. Logan House at the Beatrice Wood Center for the Arts, 8585 Ojai-Santa Paula Road, Ojai. chamberonthemountain.com
Eat Me The world premiere of a play, written by Talene Monahon and directed by Caitlin Sullivan, about a group of foodies in search of fulfillment; part of SCR’s annual Pacific Playwrights Festival. Previews, 2 p.m. Sunday, 7:30 p.m. Tuesday-Thursday; Opening night, 7:30 p.m. April 17; continues through May 3. South Coast Repertory, 655 Town Center Drive, Costa Mesa. scr.org
Poetry in the Garden: Scores National Poetry Month and Earth Month find a natural juncture at this free, daylong event, co-presented with Dublab, featuring live poetry and music inspired by “The Scores Project: Experimental Notation in Music, Art, Poetry and Dance 1950-1975 .” The project is shaped by midcentury experimental artists like Yvonne Rainer, John Cage and Benjamin Patterson. Performers include contemporary DJs. musicians and poets. 11:30 a.m.–6:30 p.m. 1200 Getty Center Drive, L.A. getty.edu
MONDAY
Ruben Ochoa, “Class: C.” The Ochoa family’s former tortilla delivery van transformed into a mobile art gallery.
(Ruben Ochoa)
Breakdown/Breakthrough: Art and Infrastructure Part 1 of this two-part exhibition probing the ecological cost of L.A.’s human-made landscape presents the photography of Ruben Ochoa alongside works by Carlos Almaraz and Pat Gomez. Part 2 is “Class: C,” a pop-up gallery created by Ochoa, who transformed his family’s Chevy van into a mobile studio and exhibition space while a student at UC Irvine, and now repurposes it to present work by the school’s current students and alumni. An artist talk with Ochoa is scheduled for April 18. “Breakdown/Breakthrough: Art and Infrastructure,” 10 a.m.-4 p.m. Tuesdays–Saturdays, through May 16. UC Irvine Langson Museum Interim Gallery, 18881 Von Karman Ave., Irvine. “Class: C” pop-up gallery, Monday-April 18 at the Irvine Barclay Theatre Plaza, 4242 Campus Drive, Irvine; Artist Talk with Ochoa, 2 p.m. April 18. UC Irvine Langson Museum, 3333 Avenue of the Arts, Costa Mesa. imca.uci.edu
TUESDAY
John Waters
(The Luckman)
Going to Extremes: A John Waters 80th Birthday Celebration The boundary-pushing cult filmmaker and raconteur holds court with behind-the-scenes tales and commentary on the brink of his becoming an octogenarian (April 22). 8 p.m. The Luckman Fine Arts Complex at Cal State LA, 5151 State University Drive. theluckman.org
THURSDAY
An image from Barbara Kopple’s “Harlan County, U.S.A.’
(American Cinematheque)
This Is Not A Fiction The American Cinematheque’s celebration of documentary filmmaking kicks off with the 50th anniversary premiere of a 4k restoration of Barbara Kopple’s L.A.”Harlan County, USA” and a Q&A with the filmmaker. The festival continues with screenings and appearances by Ross McElwee (“Sherman’s March,” “Photographic Memory”) and Gianfranco Rossi (“Notturno”), plus anniversary screenings of “Popstar: Never Stop Never Stopping” and “Jackass Number Two” and more. 7:30 p.m. Thursday. Aero Theatre, 1328 Montana Ave., Santa Monica. The festival runs through April 24 at the Aero; Egyptian Theatre, 6712 Hollywood Blvd.; Los Feliz Theatre, 1822 N. Vermont Ave. americancinematheque.com
Arts Everywhere
New and recent releases of arts-related media.
Alice Neel: I Am the Century The catalog for the American artist’s first major retrospective in Italy, presented by the gallery Pinacoteca Agnelli in Turin through May 4, provides an artistic and biographical profile of the Pennsylvania-born painter (1900-1984). Neel defied the abstract expressionism of her contemporaries with a distinctive style of portraiture that exposed the psychological truth of her subjects. The bilingual text (English and Italian) features contributions from curators, scholars and artists, alongside 60 of Neel’s works and archival documents. Mousse Publishing: 272 pp. $50.
Daniel Radcliffe, left, Jonathan Groff and Lindsay Mendez in the movie “Merrily We Roll Along.”
(Sony Pictures Classics)
Merrily We Roll Along Daniel Radcliffe, Jonathan Groff and Lindsay Mendez star in Maria Friedman’s film of her acclaimed 2025 revival staging of the Stephen Sondheim musical that originally flopped in 1981. “Captured at the Hudson Theatre last year during its Tony-winning Broadway run, this ‘Merrily’ is stirring evidence of a hit production,” wrote Robert Abele in his December review for The Times when the film had a theatrical run. Its story, of a “tight-knit trio of New York creatives whose friendship, depicted backward across decades, feels like a shattered vase being reassembled so that we appreciate the cracks and cohesion.” Netflix, streaming.
Tyshawn Sorey
(John Rogers / Fully Altered Media)
The Susceptible Now Can’t get a ticket to the Tyshawn Sorey Trio’s gig at the Nimoy tonight? No problem. Check out their latest album from 2024, which features covers of some of Sorey’s favorite music. The four tracks, which range from 15 to 22 minutes in length, include “Peresina,” the McCoy Tyner classic from the album “Expansions”; Joni Mitchell and Charles Mingus’ collaboration, “A Chair in the Sky,” from her album “Mingus”; “Bealtine” from the Brad Mehldau Trio; and contemporary soul group Vividry’s “Your Good Lies.” Pi Recordings: Available on vinyl ($35), CD ($14) or digital download ($13).
— Kevin Crust
Culture news and the SoCal scene
Compton artist Fulton Leroy Washington — known as Mr. Wash — at his studio.
(Allen J. Schaben / Los Angeles Times)
Painter Fulton Leroy Washington — known as Mr. Wash — recently opened a new exhibit, “The City of Compton: Then & Now,” which serves as a fundraiser for a $15-million community arts center that Mr. Wash plans to build on his property. “The Art by Wash Studio & Community Center … is being designed to provide housing, studio space and support for formerly incarcerated artists with artistic talent,” writes contributor Jane Horowitz about the Morphosis Architects-designed complex.
Times classical music critic Mark Swed got the scoop on the latest Los Angeles Philharmonic appointment. “With Gustavo Dudamel’s final season as music and artistic director of the Los Angeles Philharmonic reaching its homestretch, the orchestra has announced the appointment of its latest not music director. Anna Handler, a former Dudamel fellow and rapidly rising young conductor, will be given the new title of conductor-in-residence for the next three seasons,” Swed writes.
On a recent trip to New York City Swed noticed how much the Big Apple owes to L.A. for its current cultural offerings. L.A. artists are reshaping New York’s major institutions, Swed writes, noting that Gustavo Dudamel is revitalizing the New York Philharmonic and Yuval Sharon of the Industry is directing the Met’s “Tristan und Isolde.”
Director Knud Adams is photographed at the Wallis in Beverly Hills.
(Christina House / Los Angeles Times)
Times theater critic Charles McNulty sat down for an interview with theater director Knud Adams, who has staged world premieres of back-to-back Pulitzer Prize-winning plays — both of which are heading to Los Angeles. “English” opened Thursday at the Wallis Annenberg Center, and “Primary Trust” will land at the Mark Taper Forum on May 20. “He has become one of the most prized directors of new work in the country, and now Los Angeles will get a sample of his textually nuanced, scenically surprising excellence,” McNulty writes of Adams.
Finally, Malia Mendez wrote a piece about the upcoming two-year closure of the Page Museum at the La Brea Tar Pits. Your last day, to visit is July 6. “Prior to closing, the Tar Pits will host a free public KCRW Summer Nights event June 12 and a members-only, disco-themed dance party June 27,” Mendez writes, noting that the closure will facilitate the “first significant overhaul in [the museum’s] 50-year history.”
Enjoying this newsletter? Consider subscribing to the Los Angeles Times
CineVita near SoFi Stadium is staging “Teen Beat Live,” an immersive concert experience, through May 17.
(Jason Armond / Los Angeles Times)
Remember CineVita — the 15,000-square-foot Spiegeltent at Hollywood Park next to SoFi Stadium? It’s staging a glitzy tribute to the upbeat, universally loved (or at least known) music of 1980s cinema, running through May 17. Called, “Teen Beat Live,” the immersive concert experience is sure to have you racing to find your old VHS copies of John Hughes films.
Did I tell you about the golden toilet installation on the promenade near the Lincoln Memorial? It was placed there by the satirical arts group Secret Handshake as a criticism of President Trump’s White House renovations. “This toilet, spray-painted gold and set on a faux-marble pedestal, is the latest in a series of protest artworks and installations taking aim at President Donald Trump and his administration. A plaque on each side of the structure reads: a Throne Fit for a King,” writes the Washington Post.
When Halle Bailey moved from Georgia to Los Angeles as a wide-eyed preteen nearly 15 years ago, the city felt like a wonderland of possibility.
“Being from the South, when you first come to L.A., you’re like, ‘Hollywood. Wow. This is where all the celebrities are,’” says the Grammy-nominated singer and actress. At any moment, she thought she might cross paths with Halle Berry — the similarly named actress she’s often mistaken for — on the Hollywood Walk of Fame.
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.
But after living in the city for a while, Bailey, now 26, says she realized L.A. is made up of all sorts of different pockets — ones “where people are really Hollywood, bougie” and others “where people are chill, like hippies,” she says. Her favorite neighborhoods are Silver Lake, Venice and “places where people are just like, yeah, one love,” she says, laughing.
These days, Bailey is one of the celebrities people would be thrilled to see strolling down Hollywood Boulevard. She’s built a career that bridges music, TV and film: By 13, she and her sister Chloe Bailey — together known as Chloe x Halle — had signed to Beyoncé’s label; she’s earned six Grammy nominations (including one for her debut solo album released last fall); and she played young Nettie in “The Color Purple” and starred as Ariel in Disney’s live-action “The Little Mermaid,” a blockbuster role she’s recently been reflecting on.
Bailey’s next venture? Starring in her first romantic comedy, Universal’s “You, Me & Tuscany,” which hits theaters April 10. She plays Anna, a young woman who impulsively crashes at a empty Italian villa by pretending to be the owner’s fiancée.
“It felt good to play a young woman who was grown, but still discovering herself,” she says. “I felt like I was playing the essence of the Halle who is finding herself now.”
On her perfect Sunday in L.A., Bailey would have a day of fun with her 2-year-old son, Halo. Here’s what they’d do.
This interview has been lightly edited and condensed for length and clarity.
7:30 a.m.: Wake up and jump into mommy duties
I love mornings. I leave my curtains open while I sleep because I like when the sun wakes me up. We all doomscroll, which is kind of bad to say, but the first thing I check is my phone. Then I have mommy duties right at 8 a.m. Sometimes before [Halo] wakes up, I get a chance to do some things for myself like go outside and sit in the sun for some meditation or stretching. I don’t get to do it every day, but I try. Or I’ll make some tea or a smoothie and just have a moment of gratitude for waking up that day.
8:30 a.m.: Crank up the music
Once Halo is up, we do breakfast right away. I don’t know why I’m super into boiled eggs right now [laughs]. But I love a boiled egg in the morning with either avocado or hash browns. My baby loves hash browns too. I try to make a balanced breakfast and then from there it’s kind of party time.
We’ve been blasting the new Jill Scott album and it’s really cool how the music you play in your house can just change the mood, the vibe and bring good energy into the space that you’re in. And on a Sunday, I don’t know if it’s just because of the way I was raised, but automatically I think, “OK, I need to straighten up for the week. I need to get the house reset.” So maybe I’m cleaning up the kitchen or organizing toys, or making sure the bathroom is straight, or washing clothes while the music is blasting and we’re dancing around, having fun.
12 p.m.: Solo time while the baby naps
I’ll take a lunch break. If I’m in the cooking mood, I love making comfort food like chicken and rice with cabbage and mac and cheese. Something that is just warm and comfy. If I’m not doing that, I’m ordering Wing Stop or Chipotle. I would chill outside for a while until my son’s nap time, which is around 12:30 p.m. He’ll sleep until like 3:30 p.m., so then I have two hours to myself and sometimes I do nothing. Sometimes I just need to sit down and I’ll be on my phone on TikTok or I’ll watch a show. I recently binged the new “Love is Blind” season. I also started watching “Real Housewives” again, but, like, the beginning seasons. I really love the show “My Strange Addiction.” It’s just so hilarious to me. Those are some guilt-free shows that I turn on and my brain can turn off.
I might even go into the studio if I’m hearing a melody in my head or pick up my guitar. Sometimes I might take a nap too, and that feels really good on a Sunday.
4 p.m.: Go on an easy sunset hike
If I feel up for leaving the house, we’ll go for a walk, to the park or maybe even a sunset hike. I’ve always been a nature girl and I feel like it just grounds me, and I’m able to center myself, especially for the start of a new week. There’s a lot of really beautiful hikes in California, but I’ve found ones that are easy and safe to take a baby on so I’m not stressing if he’s running ahead of me or behind me. On a Sunday, you just want to rest, so you’re not trying to do a full-blown workout. Sometimes we’ll get halfway through and then we’ll turn back and go home [laughs].
Near Studio City, there’s a really good one called Fryman [Canyon]. It’s hard in the beginning, but as you get higher it gets easier and you see the view, and you’re just like, “I can do this.” We recently went to Point Dume, which I had never been to, but I saw the view on TikTok. It’s a really beautiful beach hike in Malibu and I love it there. The hike up is super easy, but there’s a field of flowers that you walk through to get to the viewpoint where everyone takes pictures overlooking the beach.
6:30 p.m.: Bath time
I love a bubble bath. If my son is with me that night, we do a whole fun toys in the bath type of vibe. But if it’s a solo night, it’s like candles, lavender bubbles, lights are dim, jazz music is playing in the background, like Billie Holiday, and that is the ultimate reset.
7:30 p.m.: Dinner and a show
If I have a sitter, I might go out to dinner. I like Lucia, which is a Caribbean restaurant in Hollywood. I think the first time I went, they had a really good oxtail mac and cheese. When I went back the menu had changed and I ordered the jerk chicken, which was also good. Also, I’ve been loving the Blue Note recently. I saw Esperanza Spalding there last year.
10 p.m.: Watch something low–stakes before bed
Sometimes I try to force myself to turn off all screens, all phones and go to bed because I need the sleep. It’s either that or I’m up watching something. I just really like watching things that make me feel like I can laugh and I don’t have to think about it. I get really emotionally invested in shows. If I try to watch “The Pitt” at the end of the day, it feels so emotionally exhausting. During the day is OK, but at nighttime, I just need to laugh.
SABRINA Carpenter has reached the dye point of her career with her biggest show so far.
The Espresso singer, 26, ditched her trademark blonde locks to go brunette for a retro photoshoot.
Sign up for the Showbiz newsletter
Thank you!
US star Sabrina Carpenter in a red checked shirt and tiny white tasselled skirtCredit: Bryce AndersonSabrina went brunette for a new retro shootCredit: Bryce AndersonSabrina stuns in a yellow Sixties-style outfitCredit: Unknown
In one snap the US star wears a red checked shirt and tiny white tasselled skirt while another sees her in a yellow Sixties-style outfit.
When Beyonce headlined in 2018 she had more than 100 dancers.
Sabrina revealed planning started seven months ago and said: “It’s the most ambitious show I’ve ever done.
“It’s probably the most time I’ve ever had to actually just sit down and talk about a show as I’m building it.”
Sabrina played there in 2024, in the 5.30pm slot, on the day Espresso came out.
She recalled: “I got to play that for the first time at Coachella.
“And now, two years later, we’re back.”
Sabrina in the shoot for Perfect magazineCredit: UnknownThe Espresso singer is preparing to headline Coachella Festival later this monthCredit: Bryce AndersonSabrina with her trademark blonde locksCredit: Getty Images
Malcolm in the Middle is officially back and the actor who played older brother Reese has revealed that he has ‘never watched the show’ despite being a leading figure in it
Liam McInerney Content Editor
05:00, 10 Apr 2026
Malcolm (Frankie Muniz) with Reese (Justin Berfield) (Image: Carin Baer/FOX)
The actor who starred as Reese in Malcolm in the Middle has “never watched the show” back. Justin Berfield, now 40, has now returned to our screens for the reboot of the sitcom that ended two decades ago. He has lived a quiet life since then and recently revealed why he quit Hollywood.
But speaking on The Joe Vulpis Podcast, he confirmed that he had watched the four-episode revival, which was released on Disney+ today (April 10), but he still avoids the original episodes.
He said: “I watched it — and I never watched any of the Malcolm episodes.”
Host Joe, clearly surprised, pushed him further, and Justin continued: “I think I’ve, out of 151 episodes, I think I’ve just seen five… I just never watched them.
“I’m an actor… I cannot watch myself because I critique myself way too much.”
He was then informed that he was “great” as Reese but he responded: “I am like, I feel I didn’t hit that joke right, I feel like I messed that line up. I can’t watch myself.
“I’ll turn it on for my wife and kids and I’ll run away and leave the room. I’m like, ‘Let me know when it’s done.’”
He was then pressed on whether he will one day watch it back, given it might trigger some positive memories he had forgotten about.
Justin, who is now a stay-at-home dad who has worked as an onset producer and writer, said: “I don’t know… maybe. I just get uncomfortable watching myself. I know every actor is different and some people love watching themselves, I just can’t. I don’t know. I critique myself too much.”
The reboot sees Justin return as the older brother to Malcolm, played by Frankie Muniz.
He said it was interesting to see where all the characters ended up 20 years later — and he said Reese was still his “shortsighted but quick reacting” self.
Also returning is Malcom’s other older brother, Francis, portrayed by Christopher Masterson. And the siblings’ parents, Hal and Lois, played by Bryan Cranston and Jane Kaczmarek, are also starring in it.
The synopsis reveals: “After shielding himself and his daughter from his family for over a decade, Malcolm is dragged back into their orbit when Hal and Lois demand his presence at their 40th anniversary party.”
And as for what it was like being back on set after so long away from his former colleagues, Justin said: “It felt like a really, just a really long hiatus. When we were filming the show, you’d film for like eight months and then you’d take like two, three months off, and then kind of go back and do some things again and start seeing everyone, and that was like your year for seven years straight.
“And then we did this, it was obviously like 20 years since we’d seen each other for most of us. And you just kind of, it felt like time stopped, like we just got right back into it.”
Malcolm in the Middle: Life’s Still Unfair is streaming on Disney Plus from April 10
