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Inside the Universalist Unitarian Church of Riverside, a line of masked people filed into the red-lighted chapel, one by one, to take part in the rite of confession.

The private booth was framed in flowers, and rather than a priest listening inside, it was a microphone recording their confessions, to be played at an upcoming art exhibition. The brick triangle-roofed church that held the booth has stood since opening in 1892; that night, it was the site of a masquerade, or as Riverside artist Perry Picasshoe called it, the “Masqueerade.”

Picasshoe, whose real name is Neveah Marquez, hosted the event, which had an entirely LGBTQ+ guest list and one requirement: Bring a mask, whatever that looks like to you.

Marquez, a 26-year-old transgender woman robed entirely in red, stood at the pews and danced to the experimental electronic DJ sets and drag performances as guests entered in masks that ranged from papier-mâché deer antlers to collaged photos of eyes and lips.

The event came as a celebration ahead of the Riverside native’s first solo exhibition, “SagradX,” which will open Saturday at Riverside Art Museum and remain through Jan. 31.

The recorded confessions, layered over one another until they become an unintelligible cacophony, represent just one piece of the 25 paintings, photographs and interactive displays in the exhibition. The show explores the meaning of “sacred” as Marquez documents her most private places and experiences, and asks viewers to consider what they hold sacred.

The exhibition, she says, began with heartbreak.

Neveah Marquez (Perry Picasshoe), 26, sits inside the Riverside Art Museum.

(Carlin Stiehl / For De Los)

“The first time I started thinking about sacredness … was when my ex-partner brought somebody into our bed,” said Marquez.

“I was crying, distraught, and drove over to these hills over Lake Mathews [in Riverside] and I realized: The bedroom was sacred to me. That’s why it hurt so much. And I started thinking, if it wasn’t sacred to them, how do we decide what is sacred to each of us?”

The very headboard of that bed sits in the exhibition; on it, Marquez painted fairy-tale creatures representing the lovers gallivanting across the woods.

While Marquez’s experience with betrayal sparked the idea, the exhibition explores sanctity in many different scenarios: In one, the artist plays with the concept of the digital safe space by inviting guests to look through her phone as she is tied on a handmade iron-wrought cross. Inside the exhibition space, she uses a small painter’s brush to slowly paint the white walls red over the course of the show.

In curating the exhibition, Marquez began to look inward, painting and photographing herself in ways she never had before: through the lens of femininity. She lived the previous 26 years of her life as a man, growing up religious to the point that she once considered becoming a priest. The paintings serve as portals into a part of her that she long held inside.

“I describe it like having blurry vision your whole life and not realizing how clearly you can see, until you put glasses on,” Marquez said. “That’s how painting myself as a woman felt.”

Neveah Marquez (Perry Picasshoe) considers what is sacred.

(Carlin Stiehl / For De Los)

Though she initially identified with her male birth name, the more she painted herself in Venus-like, feminine poses and with longer hair, her understanding of her identity shifted. Illuminated by her signature scarlet red clothing and tastefully shrouded in sheets, the soft expression on her face was inspired by Raphael’s “La Fornarina.”

“I wasn’t thinking much of it in the moment, but as I kept painting these portraits, I was thinking a lot about myself and thinking about gender and my identity,” Marquez said. “Through my art process, I realized: ‘Maybe I would be a pretty woman.’ That’s what scared me the most from transitioning, was not feeling like I would be beautiful enough.”

In “SagradX,” Marquez’s body is documented vulnerably; easing into her own identity becoming a painfully honest artistic process, which the audience is now invited to watch.

“I feel like I don’t paint very often because when I do, it’s just so emotionally intense. Like when Olivia Rodrigo wrote that she’s scared of her guitar because she couldn’t lie to it, that’s how I feel about painting,” Marquez said. “I can’t lie to my painting.”

Neveah Marquez (Perry Picasshoe) wears long, flowing red clothes.

(Carlin Stiehl / For De Los)

Aside from her self-portraits, Marquez includes photographs of her ice blocks project, in which she placed 25-pound blocks where immigration enforcement raids took place in the Inland Empire last year. These were once safe places that she says have been “desecrated with fear.”

Marquez’s personal journal, which documented her inner joys and struggles over the last year, is also open on a table in the exhibition for guests to read through, draw over, or tear. For Marquez, “SagradX” was the catalyst to “let everything out.”

“If the show is about vulnerability, I need to practice that for myself as well. Otherwise, you would see in the work that there’s a blockage, you can sense when artists aren’t fully honest,” Marquez said. “I want people to question, ‘What is sacred to you?’ If I give you access to something sacred to me, what will you do with that?”

A second celebrity has been eliminated from ITV’s The Box, after losing a duel on Gary Lineker’s new celebrity game show.

A contestant on The Box has spoken out after their exit from the gameshow, as they became the second star to be eliminated.

The ITV series, which premiered on Saturday (September 5), sees 10 celebrities take part in a variety of challenges. Fronted by former Match of the Day presenter Gary Lineker, the cast includes Danny Aarons, Ranvir Singh, Joey Essex, Ellie Taylor, JB Gill, Jenny Ryan, John Bercow, Sara Davies and Shakira Khan. During Saturday night’s debut episode, Graeme Souness became the first star to be eliminated, and now a second celebrity has been sent packing.

After losing out on The Duel, a head-to-head game after the main challenge, Sara Davies was confirmed to be going home. She shared how much she enjoyed her experience, adding that she was “dead proud” of putting herself through challenges, reports the Express.

She went on: “Where I’ve played this wrong is, I’ve shown my true colours a little bit. They’ve seen that actually, she’s playing this to win. And I think that’s what’s been my downfall.”

Sara continued by saying how much she’d enjoyed her time taking part in the show, adding: “I’d do it again in a heartbeat.” Each episode of the show sees a celebrity get enclosed in a yellow box, before finding themselves in mystery locations across the country.

“They will never know where they are, or what challenge is facing them on the other side. The challenges could be physical, mental, logical, funny, a bit daunting, or all of those at once,” the synopsis adds. “With minimal or no instruction, they must decipher and work out what to do. At the end of each episode, two players will battle it out in The Duel, a high-stakes head-to-head game to avoid elimination.”

Just a day earlier, when The Box premiered, Sara shared a message about filming the programme on social media. She shared: “So around this time last year, I was asked to take part in a brand new and totally different show for ITV called ‘The Box’.

“I received a phone call asking if I would take part and, because the show had never been made before, I didn’t really fully understand what I was letting myself in for. I just knew I was going to be put into a big yellow shipping container, transported SOMEWHERE, and then I’d have to work out what the hell was going on and what I needed to do about it the split second the box doors opened!

“What they did promise was that it would be a challenge, it would be unexpected, I’d be pushed well out of my comfort zone, and I’d have to challenge myself in ways I could never have imagined. Well, they weren’t wrong and I can’t wait to hear what you all think of it!”

She went on to say that unfortunately she’d be missing the show airing as she was walking the Great Wall of China with breast cancer charity CoppaFeel, but she wanted to share the “truly memorable experience” with her followers with some behind-the-scenes pictures.

Sara was widely supported from fans after her post, with one writing: “Love this can’t wait to watch.” Another said: “Just watched 1 and 2 episodes big love from another Northern Gal.” Someone else wrote: “I’m watching the second episode now and it’s brill xx.”

Sara’s exit from The Box comes after she quit Dragons’ Den last year. She had become the youngest ever female Dragon when she joined in 2019.

She shared at the time: “Little update from me… As this last run of Dragons’ comes to an end I have to say l’ve loved every minute of this series so far and I’m so proud of the businesses l’ve invested in this year!

“As a lot of you will know, l’ve taken up my position again as CEO of Crafter’s Companion and my business is my big priority this year. And when I commit to a business, I really commit, which is why I find Dragons’ Den such a rewarding role.

“As well as filming an incredible show, being a Dragon requires so much dedication and time behind the scenes as you join the life of each business you invest in. It means seeing through your investment and committing to your part in that organisation. It’s so much more than a TV show.

“That’s why l’ve taken the decision to step away from the Den for now, to focus on my own business, which was my first baby! So I won’t be filming with the team this year for the next series.

“Sending so much love to my fellow Dragons and the amazing team behind it all. In the meantime, you can still catch me in the second half of this series of Dragons’ Den later in the year – it will not disappoint!”

The Box is available to watch on ITVX

It’s been a remarkable year for Bad Bunny, one of pop music’s biggest stars. After winning multiple trophies earlier this year at the Grammys, including album of the year for “Débi Tirar Más Fotos,” he can add another accolade: Emmy winner.

The Puerto Rican rapper and singer, also known as Benito Antonio Martínez Ocasio, won his first Emmy for variety special (live) on Saturday for his historic Super Bowl halftime show. It was the first Spanish-language halftime show, a 13-minute spectacle that transformed a football field into a variety of scenes including a sugar cane field, bodega, wedding party and casita, like the one in his 2025 San Juan residency. It also featured performances by Lady Gaga and Ricky Martin. Mikael Wood, The Times’ pop music critic, called it “a busy and colorful performance that drew lines between the traditional folk forms of his native island and the throbbing reggaeton beats that have made him an icon to young people around the globe.”

Bad Bunny served as a producer on the show. It won seven Emmys overall, including for directing for a variety special and music direction.

Also honored at Saturday’s ceremony was Mariska Hargitay for her documentary “My Mom Jayne,” about her mother Jayne Mansfield, a Hollywood actor who died in a car accident when Hargitay was 3 years old. Hargitay also received an Emmy for directing the film and Tony Hardmon won for cinematography. The movie, which premiered at the Cannes Film Festival last year, had a limited theatrical run before being released on HBO in June 2025. Hargitay won an Emmy in 2006 for lead actress in a drama for playing Det. Olivia Benson in “Law & Order: Special Victims Unit.”

In an interview with The Times last year, Hargitay said, “Making this film has been so extraordinary to me and totally reframed the narrative for me,” about Mansfield and the struggles she encountered over her brief but celebrated career. The film also revealed that Hargitay’s biological father was Nelson Sardelli, a former entertainer, and not Mickey Hargitay, the man who raised her and Mansfield’s second husband.

Mariska Hargitay will host the Primetime Emmy Awards on Sept. 14 in Los Angeles.

The first pair of Emmy ceremonies, formerly called the Creative Arts Emmys, are held over two nights, two weekends before the Primetime Emmy Awards, and honor many of the behind-the-scenes workers and craftspeople in television. An abridged version of the ceremonies will be broadcast Sept. 12 on FXX and stream on Hulu the following day.

Here is a list of winners from Saturday’s ceremony:

Variety special (live)
“The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny”

Variety special (pre-recorded)
“The Muppet Show”

Documentary or nonfiction series
“Mr. Scorsese”

Documentary or nonfiction special
“My Mom Jayne: A Film by Mariska Hargitay”

Unstructured reality program
“Love on the Spectrum”

Structured reality program
“Antiques Roadshow”

Host for a reality of reality competition program
Alan Cumming, “The Traitors”

Game show
“Jeopardy!”

Game show host
Jimmy Kimmel, “Who Wants to be a Millionaire?”

The complete list of winners for Saturday’s ceremony can be found at televisionacademy.com.

City clung on to a nervy victory against the Sky Blues to maintain their 100% winning start to the season, but managed to get the job done courtesy of a string of saves from goalkeeper Gianluigi Donnarumma.

Haaland continued his fine start to the season by converting his third goal in as many games from Antoine Semenyo’s deep cross, which came after Fernandez played through a slide-rule pass to the Ghanaian.

Playing in the number eight role, Argentina international Fernandez was given licence to roam and make late bursts into the box – he touched the ball six times in the opposition area, with only Haaland managing more with 11.

Fernandez could have had a dream debut but saw two shots blocked, before being replaced after 76 minutes by fellow summer signing Ayyoub Bouaddi.

The 18-year-old Morocco international was part of City’s midfield rebuild and highlights the options available to Maresca despite the departures of Bernardo Silva, Rodri, Tijjani Reijnders and Nico Gonzalez.

Ndiaye, meanwhile, became the first Senegalese player to represent City and is bound to give opposition defenders with his trickery and pace. No player attempted more dribbles in the match than his eight.

Maresca said: “Enzo and Iliman [played their] first game with us and then Ayyoub and Ryan [McAidoo] their first game in front of our fans.

“That is why I said there are many reasons I am happy about our win. I think they were all good.

“Ili just had two sessions with us. He needs to understand how to move. Most of the time he was moving in the wrong way, wrong position, but he needs to learn and for sure he is going to learn.”

Asked to elaborate on Ndiaye’s performance, Maresca said: “When Marc Guehi has the ball and he was dropping a lot and we don’t need that.

“We need him in the last third so he can be a little bit more higher. That space was more for Josko Gvardiol.

“It is the same thing in this [other] side. But it is normal and with time they will learn the way we want them to play.”

Fans had travelled from across the UK and the world to see the rapper, including Prince Dean Sithole, who hailed Jay-Z as one of his role models.

“I think he’s very impacting, especially for us black people because we don’t get a lot of recognition,” the 19-year-old from Leeds told BBC Newsbeat.

“Seeing him today shows that dreams are possible and you can be that person that you want to be.”

Jay-Z, real name Shawn Carter, broke through with his 1996 debut album, but it was his third record, Vol. 2: Hard Knock Life, in 1998 which landed him the top spot in the US charts for the first time and a best rap album Grammy.

He went on to establish himself as one of the most influential figures in hip-hop, releasing 13 solo studio albums and several collaboration records, which have secured him 25 Grammy Awards.

He was also the first rapper inducted into the Songwriters Hall of Fame in 2017, as well being inducted into the Rock & Roll Hall of Fame in 2021.

Over the years, he has also become one of the most prominent music mogul’s in the world, with his company Roc Nation representing a host of top talent and, in recent years, it has been behind the Super Bowl half-time show.

In 2019, he was declared hip hop’s first billionaire by Forbes, having built an empire based on music, property, fashion and investments alongside his wife Beyoncé.

The power couple have three children, daughter Blue Ivy, 14, and 9-year-old twins, Rumi and Sir.

Gogglebox fans have shared their verdict after two new families made their debut on the Channel 4 favourite

Gogglebox has introduced some new faces.

The Channel 4 hit show returned to our TV screens on Friday (4 September) night, as the sofa watchers shared their hilarious reaction on the best and worst of this week’s TV. Long-running favourites Jenny and Lee, Pete and Sophie, Ellie and Izzi and the Malone family were all back as they welcomed viewers into living rooms yet again.

This time, they weren’t alone as fans of the BAFTA-winning series welcomed the show’s first cast member with Down’s syndrome as two new families joined the hit programme.

The newest additions include Newcastle brothers Steve and Mark, as well as Sandy and her TV fanatic son Max, who is the first person with Down’s syndrome to feature on the show. Opening up about joining the show, Max joked: “I’m much funnier than my mum, so that’s good.”

“I’m all about spreading the love and showing other learning-disabled people what we can achieve. And my mum is my greatest supporter,” he added.

Sandy called joining Gogglebox “total magic”, sharing: “To have people see the superstar, who is my son, and realise that a person with a learning disability can be smart, opinionated and hilarious is very important for me. My greatest joy is being his mum.”

Speaking about signing-up for the series Max further shared: “Friday nights with Gogglebox and wine has been a tradition in our house for years. It’s one of my favourite shows ever.

“So, it’s surreal that we’re going to be part of it, and it’ll be such a laugh doing this with my brother. He’s super funny and it’s a great excuse to hang out.”

Viewers watching at home have wasted no time sharing their reaction on social media to the newcomers and it’s clear they can’t get enough of mother and son duo, Max and Sandy.

One viewer wrote: “Go Max and Sandy! Lovely friends of mine, knocking it out of the #Gogglebox park.”

Another commented: “Really like Max #gogglebox.” A third said: “This was the first time I’ve ever instantly loved a new family on #gogglebox smiled from ear to ear with Max. How lovely. Not sure on the other new additions yet.”

Another said: “#gogglebox Loving Max and his mum! Brilliant!” Another fan commented: “Love Max and his mum. The new brothers are ok too. #gogglebox.”

One wrote: “Absolutely L-O-V-E Sandy and Max #Gogglebox.” Meanwhile another fan added: “Max and his mum are a good addition. They make me laugh in a good way.”

You can stream Gogglebox on Channel 4

The brand new series shows the ‘unfiltered’ side of a well-known social media star

A beloved social media star’s new Netflix show has come under fire just hours after landing on the platform.

The streaming giant added Earle Meets World to its lengthy reality TV roster on Friday (September 4), and it has already divided viewers. The eight-part show promised to showcase influencer Alix Earle’s “unfiltered” life away from social media feeds.

A synopsis teases: “Gen-Z’s ultimate It Girl, Alix Earle, is making the next big jump in her career. Can she balance her burgeoning business empire with being that unfiltered, twenty-something, hot mess that America fell in love with? Now she’s taking her candid chaos from your FYP to TV… and nothing is off limits.”

We follow the 25-year-old as she comes to terms with her first major breakup from long-term partner Braxton Berrios, as well address her ongoing feud with podcaster Alex Cooper.

Despite her online following of over 13 million, Alix’s venture into TV has been hit with brutal reviews. One viewer took to TikTok to confess they switched off the show during its first episode, penning: “I can’t get past the first 20 minutes and I love Alix and reality shows.”

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

Critics have also shared scathing verdicts, with Variety stating: “The same relatability that makes Earle a dependable brand ambassador also makes her everyday life almost painfully boring to watch, with the few juicy nuggets either overhyped, downplayed or both.”

Time agreed, writing: “If the show made a genuine effort to fulfil the 25-year-old social media star’s vow to reveal the rawest, most intimate aspects of her life, then the only reasonable conclusion to draw from it would be that there just isn’t much to see.”

Meanwhile, The Sunday Guardian published a more generous review stating: “Fans of Alix Earle will probably enjoy getting more access to her family, career and personal life”. And it seems they were spot on because Alix’s fanbase are completely hooked on the series.

“I love the show so far,” someone posted on TikTok. Another person added: “LOVING already so excited to watch more.”

A third viewer praised the show for its authentic approach to the genre, saying: “As someone that is a chronic reality TV watcher, the show is not over-produced and that has been my biggest qualm with the reality TV shows that I watch.”

Someone else admitted: “No guys I’m so invested,” and a final captivated viewer shared: “Oh they got me hook, line and sinker!”

All eight episodes of Earle Meets World are streaming now on Netflix

The exterior of the two-story, beige-colored building looks like any other drab office space near the Hollywood Burbank Airport. But on a recent weekday afternoon, the inside was bustling with activity: hairstylists carried brightly colored wigs between soundstages, a prop artist was building a fake leg for an upcoming video and YouTube stars gathered in a lobby, fidgeting with their phones while they waited to film their next scene.

They were among more than 100 employees of Smosh Productions, which this spring moved into the 32,000-square-foot facility, from a much smaller location in the city, to accommodate their programming needs.

It’s the latest creator-run company deepening its roots in Burbank, a neighborhood long defined by such iconic studios as Disney, Warner Bros. and Universal Pictures.

Other influencer-led companies that have expanded production footprints in the city include Rhett McLaughlin and Link Neal’s Mythical Entertainment and Alan Chikin Chow.

Internet content production is one of the few growth categories left in a Los Angeles production landscape that keeps shrinking.

“Being ‘Media City’ is a part of Burbank’s tagline. And it’s still true; we are just a different kind of media,” said Katelyn Hempstead, Smosh’s executive coordinator, on a tour of the new facility.

The company, owned by pioneering YouTubers Ian Hecox and Anthony Padilla, produces up to 10 hours of internet content weekly across five channels. Its programming ranges from sketch comedy to games and challenges for their fans.

Shoot days for digital productions rose 47% in the second quarter to 661 compared with the same period a year ago — even as the overall number of on-location shoot days dropped 13% during that period, according to FilmLA, the nonprofit group that tracks local filming.

“When people have an opportunity to work for a few days on a vertical series or [when] they make an income out of being an influencer and producing regular content for their various social channels, that does help the economy,” said Philip Sokoloski, a spokesman for FilmLA. “They still purchase things. They still utilize equipment. They may rent things from local supply houses.”

Cameras inside the “Who Meme’d It?” studio at Smosh Studios in Burbank.

(Kayla Bartkowski / Los Angeles Times)

Burbank has more than 1,000 media and entertainment companies that generate about 66,000 jobs.

Although the city does not give a breakdown of jobs by category, the creator economy has fueled some of the growth in the city’s entertainment employment over the last six years, said Patrick Prescott, Burbank’s community development director.

Most occupy flexible industrial space in the Airport district, leasing space for $1.65 to $2.81 a square foot, he said.

“It’s definitely a transitional period,” Prescott said. “There’s still something really valuable about sitting in a theater with a bunch of other people. But there’s also a lot of scrolling going on. Who’s generating that content? A lot of it’s generated here.”

Filmmakers work in the theater set at Dhar Mann Studios.

(Jason Armond / Los Angeles Times)

Due to anemic production activity, soundstages across L.A. have struggled to fill their studio spaces. That has opened up opportunities for new types of internet productions to fill at least some of the gap, said Sam Glendon, an industrial broker who’s handled several such deals. Creators building out their own space can pick up a discounted soundstage as a result, he said.

“There’s been this big supply-and-demand imbalance,” Glendon said. “It’s still a very niche type of clientele, but I’m certainly searching YouTube much more for who these people are and how many followers they have. Five years ago, I never did that.”

Controlling a studio matters to creators because it lets them move fast without a major studio’s bureaucracy, and platforms such as YouTube reward a steady, frequent posting cadence.

Alan Chikin Chow, behind the scripted YouTube high school drama series “Alan’s Universe,” moved his 13-person operation into a 10,000-square-foot Burbank facility in 2024 after outgrowing his Koreatown apartment.

“YouTube creators are the new trendsetters, and so we wanted to be associated with the big media in Burbank,” said Moris Zingman, the show’s lead producer. Proximity to the Warner Bros. lot helps land celebrity guests, too — Jacob Moncrief, Mythical’s studio president, said it’s an easy sell for shows like “Last Meals” when guests are already a few minutes away.

Filmmakers rehearse a scene in the restaurant set at Dhar Mann Studios.

(Jason Armond / Los Angeles Times)

Traditional media have taken note. Mythical Entertainment and Alan Chikin Chow both struck deals with Netflix in July. “Good Mythical Morning,” “Mythical Kitchen,” “Last Meals” and “Alan’s Universe” are all set to stream there alongside their YouTube releases starting later this year.

Dhar Mann Studios, one of Burbank’s biggest creator-run operations, added a deal with Disney last week for 20 episodes of family-oriented programming — its second major-studio partnership after a 40-title vertical-video deal with Fox Entertainment earlier this year.

Mann, 42, started making YouTube content in 2018 under the Dhar Mann Studios banner, centered around morality and motivational videos. The company now runs a 125,000-square-foot, three-soundstage facility with roughly 220 employees producing rotating sets — restaurants, school hallways, a courtroom, jail visitation rooms — designed to mimic a small town.

But Dhar Mann Studios doesn’t own its Burbank building — it leases the space — and this month the company bought a 108,000-square-foot production campus in Chatsworth for $23 million, with plans to relocate there by 2027, the Real Deal reported.

It’s the same pattern playing out across L.A.’s creator economy.

“The scale that creators have gotten to is ginormous,” said Sean Atkins, Dhar Mann Studios’ chief executive. “Media companies are always looking at what the next thing is. The answer isn’t that they become us or we become them. It’s somewhere in the messy middle, of which nobody knows right now.”

Most internet content work is mostly non-union and typically pays less than traditional film and TV jobs. SAG-AFTRA and the Motion Picture Editors Guild have started drafting new-media-specific contracts in response.

Even so, some workers welcome the opportunity.

Austin Scott, an editor who built a career cutting reality shows like “MasterChef” and “Dancing With the Stars,” recently landed his first big gig after three years of being unable to find post-production work, editing a YouTube series for Kevin Hart’s Hartbeat. Over eight weeks, he’ll work 12-hour days for $3,500 a week — below the $5,000 to $6,000 a typical TV editing job pays.

“My expectations are that it’s going to be harder work, longer hours, more notes, less money,” Scott said. “But there’s no work, so people are kind of forced to take what they can get.”

EXCLUSIVE Great British Bake Off spin off show Extra Slice has been replaced with a new show called Second Helpings which will now run alongside the main show with new hosts too.

Channel 4 are revamping the spin off show for The Great British Bake Off for the first time in 12 years – with new hosts and a show which airs the same day the main show goes out.

Extra Slice, which has been on screen for more than a decade and was fronted by Jo Brand and Tom Allen, will be replaced by a new series called Second Helpings hosted by Bake Off superfan Jon Richardson and Loose Women star Judi Love.

They’ll be joined by celebrity guests and bakers to look at the drama that has happened earlier in the evening on Channel 4. An insider said the plan was part of a major revamp for the show this year and an overhaul which has also seen Nigella Lawson join as a new judge, replacing Prue Leith who quit earlier this year.

“This is going to be a fresh new show, very different in style to Extra Slice,” a source told the Mirror. No strangers to the Bake Off tent, Jon and Judi have both previously taken part in The Great Celebrity Bake Off For Stand Up To Cancer, with varied results.

Confirming her new job, Judi said: “I’ve been lucky enough to be in the tent a few times and work alongside Jon, both were pure joy! Joining the show to talk all things baking and celebrate showstopping bakes, including some unique spins sounds like absolute blast. I can’t wait to get started and of course eat a few cakes or whatever treats they may have.”

Joking about his new job and paying tribute to the previous hosts, Jon, 43, said: “Bake Off is an institution. Jo Brand is a comedy God. Together with Tom Allen, they have made a spin off show that is warm, witty and unique. I pity the poor sap they lure into stepping into those shoes.”

Jo and Tom seem to have taken the news of the revamp well, which has ultimately seen them sidelined after fronting Extra Slice for many years. Jo was first on Extra Slice when it aired on BBC and then continued to work on Bake Off when it moved to Channel 4 in 2017.

The comedian said: “I’ve loved every minute of Extra Slice. The bakers have been brilliant, talented and remarkably calm for people whose pork pies are being discussed on national television. And working alongside my TV husband Tom has obviously been a joy, he’s always been more immaculately presented than anything in the tent.”

Tom, who joined in 2018, added: “I have loved working with the team and with the kindest person in television, Jo Brand. It’s been a joy to meet so many delightful Home Bakers from all over the world and learn about them through their cake creations. Please don’t tell anyone, but I have stolen the whisk.”

The new show will also bring viewers exclusive behind-the-scenes stories and unexpected revelations from those in the know, including Bake Off hosts and judges Alison Hammond, Noel Fielding, Paul Hollywood and new judge Nigella.

Sarah Lazenby from makers Love Productions, said: “We’re delighted to be serving up Second Helpings of Bake Off with comedy pals Jon and Judi. Together they’ll unpack all the gossip and memorable moments from the tent over a cup of tea in Cake Corner.”

Senior Commissioning Editor, Channel 4, Vivienne Molokwu agreed: “We have revamped Extra Slice by giving it a brand-new shape and a brand-new home.

“Second Helpings will be available on the same night as Bake Off meaning viewers don’t have to wait long to chew over what’s gone down in the tent. With the deliciously funny Jon and Judi at the helm we’ll all have a hilarious time talking all things sweet treats”.

Second Helpings will air weekly on Channel 4 alongside the new series of the Great British Bake Off when it begins later this month.

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Social media star Amelia Dimoldenberg is making way for a new chapter, ending her beloved celebrity interview series “Chicken Shop Date” after more than a decade.

The British personality, who has disarmed A-list celebrities with her deadpan delivery and brought her distinct interview style to the Oscars red carpet, announced on Thursday that the final episodes of “Chicken Shop Date” are imminent and that new work is on the horizon. “I never thought I’d stop Chicken Shop Date, I thought maybe it would be a part of me forever, and in some way it always will,” Dimoldenberg, 32, said in her Instagram announcement, “but I feel like it’s now time to move on from this adventure and onto a new one.”

Dimoldenberg began “Chicken Shop Date” as a teenager. It first manifested as a column in a youth publication before the host eventually took it to YouTube in 2014. In the years since moving to the online platform, Dimoldenberg became a viral sensation, sitting down for chats and chicken with stars including Cher, Keke Palmer, Charli XCX, Jennifer Lawrence and Andrew Garfield. She has published and produced, via her production company Dimz Inc., more than 100 episodes, with the series’ final installments on the way.

In her Instagram caption, the host reflected on her celebrity subjects over the years.

“I’ve spent my entire twenties sitting across from the most incredible people, people I’d always dreamt of meeting,” she wrote. “All of them charmed me (some more than others) and I definitely charmed them.”

She also wrote that “Chicken Shop Date” has been her “very own romcom” and also reflected on the show’s journey which has made her a staple on the awards circuit. She returned to the Oscars earlier this year to oversee its red carpet coverage.

“The beauty of my interviews is that they look so off the cuff,” she told The Times ahead of the ceremony earlier this year. “I think that’s what people like about me: I’m not going to be doing an in-depth look at their career or ask a very sincere question, but I will have done all my research so that I can ask them something that’s related to their movie or themes of their work or their interests that maybe catches them off guard. I don’t have to take the style of other reporters; I can do it in my own way.”

In the comments section, fellow social media stars and interviewers “Hot Ones” host Sean Evans and Ziwe celebrated Dimoldenberg. “Legendary run Amelia, I’ll be first in line for whatever’s next,” Evans wrote. Dimoldenberg and Evans appeared on each other’s shows in a crossover event in 2023.

The drizzle cleared up as stars arrived at the Guildhall, with Vinnie Jones, Kaya Scodelario, Joely Richardson and Ray Winstone all in attendance.

When asked about the reports regarding Meghan, Jones said he’s heard “only what you have”.

But he joked: “We’ve got a lot of pretty women in this. So I’m not sure there’s room for any more.”

“Way above my pay grade,” Scodelario said, while Bonneville commented he had “no idea” if there was any truth to the rumours.

Jama, meanwhile, said as a newcomer herself to the cast, she had no tips to share with Meghan.

“Oh my God, she’s a seasoned actor. I have no advice for her. She knows what she’s doing,” added Jama.

Ritchie, who also attended the premiere, did not speak to the press. But writer and executive producer Matthew Read told BBC News they were looking forward to “bringing up more energy and surprises in series two and further on in the series”.

Not a no then, I asked.

“I just don’t think it’s right to speculate at this stage, so I wouldn’t like to say yes or no,” he added.

A contestant on The Great British Sewing Bee spoke about how proud they were to have made it so far.

A contestant on The Great British Sewing Bee has spoken of their pride in making it so far, as they were forced to leave the show. The BBC competition’s 12th series is well underway, with Patrick Grant and Esme Young returning as judges, while Sophie Willan replaced Sara Pascoe as presenter.

Just a week before the semi-finals, the remaining amateur sewers were challenged with Literary Icons week. As they channelled their inner bookworms, they were tasked with creating a deerstalker worn by Arthur Conan Doyle’s character Sherlock Holmes in the Pattern Challenge.

They were then asked to imagine what Roald Dahl’s Matilda would be like as a grown-up, creating an outfit from second-hand school uniforms. And finally, in the Made-to-Measure, the sewers created an outfit from the Regency period, inspired by the works of Jane Austen.

Despite her enthusiasm for the challenges, it was unfortunately Rebecca who missed out on a place in the semi-finals. She broke down in tears as Sophie announced she would be leaving the competition.

Sophie said: “Now for the difficult bit, one of you does have to go home today.” She went on: “You’ve all been amazing, it’s getting very serious now, it’s up here, so it’s very difficult for the judges. But unfortunately, the person going home today is Rebecca.”

Rebecca was supported by her co-stars as she wept over her exit, before sharing her pride in making it so far. She said: “I’m feeling incredibly proud of myself, I never thought I’d make it to the quarter-finals, so it’s been a privilege, every step of the way.”

Esme added: “I’ll really miss Rebecca. She was such fun, and making a dress and jacket was a lot of work. But she made so many mistakes.”

Rebecca continued: “Doing all of what I’ve achieved, being in pain the whole time, it’s just, I’m so proud of myself, and I hope that anyone who is living with an invisible disability or any disability, knows they can do incredible things.”

The Great British Sewing Bee continues next week, with the BBC teasing: “It’s the semi-final, and judges Patrick Grant and Esme Young set three challenges celebrating wardrobe heroes. These are items found in every wardrobe. However little or often they are worn, these clothes are must-haves and essentials.

“First, in the Pattern Challenge, the sewers must put their spin on the classic leather jacket, only this time, the judges have asked them to use plant-based leather.

“Next, for the Transformation Challenge, the sewers take men’s shirts and transform them into outfits for a wedding. Finally, in the Made-to-Measure, it’s the timeless little black dress that is the inspiration Four sewers remain, but only three will make it to the final.”

The Great British Sewing Bee is available to watch on BBC iPlayer.

Jared Freid remembers the moment he found his true calling in comedy.

Oddly it came after he’d already found success with his debut Netflix special “37 & Single” in 2023, which allowed him to live the stand-up dream of making it to a big streamer. But then that moment passed and the Boston-bred comic was once again starting from square one scrounging for joke ideas. That’s when he decided to dig up an old story he’d told on stage about his dad body-shaming him during a family outing in Delrey Beach, Fla.

“We’re sitting at the beach, and my dad asked me how much I weighed, and I was so mad about it,” Freid remembers. Seething at his dad for poking at his body insecurities, the comedian dealt with his emotions like any good millennial — by podcasting about it. Venting the story that took only about a minute to tell on a microphone led to more fights with his aging boomer parents soon after when they heard the episode.

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Jared Freid sits down with LA Times Entertainment Editor Nate Jackson to discuss his new Netflix hour, “The Family Plan,” which turns a beach blowup with his dad into a sharply observed, big-hearted look at boomer-millennial family warfare and reconciliation.

Scrolling back through that memory, Freid said something clicked when he thought about the alarmingly close relationship millennials still have with their parents in adulthood including still being on the family cellphone plan. “I can pay my own cellphone bill, but I’m still on their family plan,” he said. “That says something about the millennial/boomer relationship, in my opinion. We’re weirdly attached to our parents, and in a way that no other generations were tied like that, like not mushed together.”

Extending his one-minute bit into a full hour in his new Netflix special “The Family Plan” (out on Tuesday) took two and a half years of dedication polishing the story and seeing it start to resonate on tour at shows around the world. It also required him understanding that what underlies the struggles between millennials and their parents is how shockingly alike they are despite being constantly annoyed by each other. Freid now says his goal is to be a family-friendly comedian for families that usually aren’t friendly with each other but can easily agree on that fact while they laugh at jokes about themselves.

This interview was edited for length and clarity.

Your new one-hour special was inspired by a one-minute story you’ve told about a fight with your dad at the beach. You tapped into something really universal with the strife between boomer parents and their millennial children — a real tug of war for power that’s happening in a lot of people’s lives right now.

Totally, I and I feel it, especially because we can talk back to [our boomer parents] in a respectful way. We can have debates. You’re finding out your parents are just people too. I started telling people on my podcast, “Bring your parents.” This special is to be enjoyed with your family. You’d see a guy with his dad [at one of my shows], point at him and go “[Jared’s] talking about you!” That made me feel so good. I did it in Canada, Australia, New Zealand, Europe, I did it everywhere, and it was always just unbelievable how much people related to it and now it’s how I want to do comedy. This is who I am. This special means so much to me. It’s been a fight to get it out. I wanted it on a platform like Netflix because I want parents to watch it with their kids. It’s hard enough to get your parents on your Netflix account. Imagine getting them to watch a special on YouTube? They’re not going to do it. So I need this to be in a place where boomers and millennials can share it with each other and enjoy it together.

As an adult, what’s been the most interesting thing about seeing what things you picked up from your parents despite constantly arguing with them?

We’re exactly the same. We’re so alike that that’s probably why my dad’s asking me how much I weigh at the beach because I also look like him. It’s almost like an argument with yourself. I’m a version of him, and he’s a version of me. I have a lot of empathy for my parents. I’m 41, no kids, never married. They had to grow up while having a kid. I can’t understand that.

Right now there’s a lot of talk about divorcing your parents going around. I also can’t understand that for a second, because it’s not in my nature. For so many of the things that I go through in my life and feel frustrated by, [my parents] are, they’re my conscience a lot of times. Like when I wonder whether I should go right or left, I hear my mom in my head like, “You’re gonna go right? Why would you go right? You always go right. You’re lazy.” I hear them. I feel like I understand them more now, being older.

From selling life insurance in New York to headlining global tours and hit podcasts, Freid has built a devoted, largely female fan base that treats his stand-up like family therapy.

(Christina House / Los Angeles Times)

Every generation has their obstacles, and we’re constantly looking at each saying “Oh, you have it easy, no you have it easy!” But in your special, it kind of comes out that there’s obstacles for every group.

Totally. I don’t do comedy to make anyone feel bad. I do it to make people laugh and enjoy. And like it was cool to see a family would come to me to take a picture afterwards, and then the parents would be like, “We’re the boomers you’re making fun of.” I’m making fun of them, but I’m also making fun of ourselves [as millennials]. And I think it strikes a balance between the two because it does show that I love my family. I love how I grew up. I love that you know the people in my life. That doesn’t mean you can’t be totally angered by them.

Where did you cut your teeth in comedy?

I started in New York. I was selling life insurance and annuities in New York, and I was writing funny emails to friends. Any time we were on the same group email, Gmail, or G Chat it was always “what did we do last weekend, and what are we going to do this weekend?” And then you just make fun of each other. Anytime someone would write back “Oh my God, I’m dying at my desk. That made me laugh so hard,” I was like, “That that feels like drugs. How do I get that?” I started doing open mics, and I kind of treated it like grad school. I did improv, sketch, and storytelling. I took all these classes, and just to see what I liked, because I just wanted to be funny for my friends. Plus I could go to open mics at night, so you could add that in and feel forward momentum.

Being a millennial comedian right now seems very much like being stuck between two worlds of having the old model of success in comedy you learned from your idols and then you have people who are younger than you who are blowing up just by like posting a random video.

What you’re saying is completely right. Like we’d look up to these guys like Colin Quinn on his show “Tough Crowd,” that’s the table I wanted to sit at, and I wanted to hang out with those guys and bust each other’s chops, that’s what comedy is. I always could see myself at that table, but I also understood that table is kind of earned. You don’t just get to it because you’re funny. When I started, you could count the comedians on one hand that could do theaters, without being on a TV show. You know, there was like Brian Regan, Kathleen Madigan, Jim Gaffigan. These people weren’t on TV, but they had their audience, so it was very different to be a stand-up. Earthquake is in that group. Then you look at the sitcom people who get to do stand-up because they were on a sitcom, like you know Seinfeld and you know Ray Romano, and these are great stand-ups.

A millennial comic wedged between club legends and viral upstarts, Freid uses candid stories and crowd work to bridge generational divides — including in L.A.’s intimate, under-the-radar comedy rooms.

(Christina House / Los Angeles Times)

How did podcasting allow you to grow your career in a different way?

I thought “well, I’m listening to these podcasts. I should start a podcast.” And I was downloading podcasts in 15-minute increments to my iPod Nano. I love talk radio. I grew up on WEI in Boston. I love sports, I like sports talk, I like high energy shows. At that time, I thought everyone had one, but now I look like I started early. I can do a podcast where I can speak directly to people who might want to come to my shows. I didn’t even think of ads. I wasn’t thinking of that stuff. I was just [thinking] I can talk right to someone who likes what I do, and I would team up with these websites… I was trying to do this internet stuff, understanding there was power there. I was caught between two worlds, working on my stand-up as kind of my nighttime job, and then doing these podcasts and contributing wherever I could as a daytime job.

When you started working with Betches Media through podcasting on shows like “U Up?” [with platform co-founder Jordana Abraham] it opened up a lane for you to suddenly grow a female audience in a way that seemed natural despite being out of the ordinary for most straight male comedians. What’s that been like to grow that type of audience?

It’s weirdly gratifying. It’s not what I was like angling towards. I think if I was angling towards a female audience as a stand-up, it wouldn’t work. I think that it would be a lie. I’m so happy with it. I feel really thankful because you know the [founders of] Betches [Abraham, Aleen Dreksler and Samantha Fishbein] they’re my sisters. The audience is family like when they come to shows I know them, you know, that’s like a beautiful thing and I think especially in the world of stand-up where all you hear about is like the Manosphere and the Rogan types, and a lot of stand-up comedy is men dragging a girlfriend to someone they think is funny because they get an ego puff out of showing a woman who they know is to be funny. And my shows are very different. It’s women bringing their boyfriends, women who now bring their husbands, couples coming together, and I love it.

Lastly, what cellphone family plan are you and your parents currently on?

Oh, we’re on T-Mobile. I’m getting kicked off by my dad currently.

Because you’re too famous?

Yeah, he’s like it’s getting embarrassing for him. I could pay for it myself. I just like, now I got to go to the store, I gotta go do it. It’s annoying.

Channel 4 will air part two of ‘The Ambush’ in a matter of days

24 Hours in Police Custody fans are being forced to wait days for a new episode.

The Channel 4 hit show kicked off its new two-part special, The Ambush, last night (August 30) and fans were instantly hooked. The harrowing episode centres on the case of a teenage boy who was found by the road with serious head injuries.

Viewers follow as the police try to uncover if the young man was the victim of a random incident or something more sinister. An official synopsis reveals: “A 17-year-old boy is found by the roadside with catastrophic head injuries. His twin says the boy had gone to meet a girl. But was it a trap?”

Those who tuned into part one were eager to discover how the case ended tonight (August 31), but they couldn’t find a new episode on the broadcaster’s schedule.

Taking to X, formerly Twitter, one fan questioned: “When’s the next episode? I can’t find it anywhere on the planner and Sky doesn’t have the next episode planned despite there apparently being one #24hoursinpolicecustody.”

Someone else shared their excitement to tune in, posting: “Tonight’s episode should provide us with more information.” But their hopes were quickly squashed as they learned that Channel 4 doesn’t have an episode scheduled until Sunday.

The furious fan shared: “What it’s not on tonight!!! You are joking me[…].” So exactly how long do viewers have to wait for the next instalment?

When does Part 2 of the 24 Hours in Police Custody special come out?

Channel 4 will air part two of 24 Hours in Police Custody ‘The Ambush’ next Sunday (September 6) at 9pm, meaning there is a week between part one and part two.

Part one is currently available to stream on the broadcaster’s on-demand service. Some viewers were already aware of the wait between the two episodes, but that hasn’t stopped them from issuing complaints.

Also writing on X, one viewer fumed: “Why are they making us wait a week for the conclusion? That’s really not on #24hoursinpolicecustody.”

Someone else added: “Are you serious @Channel4? We wait over 6 months for a new #24hoursinpolicecustody and now we’ve to wait a week for part 2?!.”

The two-part special comes after a long spell of the channel airing re-runs.

24 Hours in Police Custody’s The Ambush returns for part two next Sunday (September 6).

WHEN you think of a live show, you probably think of the West End or something happening on a stage.

But what if I told you there is a great show that merges the magic of the West End with an immersive experience? AND you can get discounted tickets?

That’s exactly what Secret Cinema’s, Grease: The Immersive Movie Musical is like, and you can get cheaper tickets through Sun Club.

If you sign up to Sun Club for £1.99 a month or just £9.99 for one year in our summer sale, you can get an extra 10 per cent off show tickets with London Theatre Direct.

Once you’ve signed up, head to the Sun Club Offers hub and find the London Theatre Direct offer, or simply click here.

Plus, you’ll get unlimited access to our award-winning articles, exclusive showbiz scoops, and a huge range of other offers and discounts too – from early access to book Hols From £9.50, free racing tickets to top UK racecourses and 2-4-1 tickets to theme parks.

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Found in Battersea Park in South West London, the show fully immersed me in the world of Rydell High – think lots of red, carnival lights and American-style food trucks.

I was back in 1959 and had just become another student alongside Sandy and Danny.

It wasn’t long before I was welcomed to my first day of school by a rather chirpy student.

One of the best things about the staging and setting, is that all guests dress up to participate – something I would recommend to make it really feel like you are part of Rydell High.

Upon entering, there is a huge outdoor area full of carnival attractions – guests can purchase carnival tokens, just like at a real fair to enjoy the different attractions.

Make sure to arrive some time before the show so you can enjoy the Ferris Wheel, Flying Chairs, Hook-a-Duck and even the iconic funhouse from Sandy’s unforgettable transformation scene.

In the fairground, you can also pick up food which is typical American-style fast food such as burgers and hot dogs.

There’s also a few bars to grab a tipple, with a Lillet Hugo Spritz (nodding to The Pink Ladies) setting me back £12.50.

When the show starts, all guests head to Battersea Evolution which has been transformed into the iconic scenes from the film including the school gymnasium, the movie drive-in and Frosty’s Palace – which is where my table was.

Filled with classic American booths in blue and white, the diner looked just like it does in the film.

Guests can purchase either roaming tickets or seated tickets – the latter having the benefit that you have a base but can also roam around the stage and sets.

The experience kicks off with the film itself, but as key scenes played out, actors bring the film to life, including those famous songs.

I couldn’t help but tap my feet and sing along.

Across the different scenes, characters will interact with guests.

One student dropped by our table to rant about being ‘left out of Frenchy’s sleepover’ – dragging us directly into the drama.

And then there are other scenes that are more like performances, such as when Danny is looking at his car as mechanic flip and dance around him.

For the finale – spoiler alert – the audience heads back outside to the carnival, with Sandy’s final transformation scene and song ‘You’re the One That I Want’ being the ultimate celebration.

I really did ‘have me a blast’ and definitely one to watch before the experience ends – definitely a five-star experience.

And of course, there are tonnes of photo opps.

The experience runs until September 13 in Battersea Park, London and standing tickets cost from £29 per person and seated tickets cost from £39 per person.

But if you sign up to Sun Club, you can get ‘ll get an extra 10 per cent off tickets.

Click below to sign up to Sun Club and bag yourself discounted tickets.

18+ England, Scotland and Wales residents only. Sun Savers multiple code collect 29/08/26-05/09/26 or subscription to Sun Club or digital subscription required. Online access required. Booking closes 23:59pm on 29/09/26. Non-transferable & non-refundable. Offer valid on a first time flyer experience only at all IFLY locations across England. Flights must be booked between August 29- September 29 and must take place before Friday January 1, 2027. Subject to availability. Not valid on voucher purchases. Cannot be used in conjunction with any other other offer, discount, voucher or promotion.  T&Cs apply, see sunsavers.co.uk or club.thesun.co.uk/sun-club. Sun Club new customer offer: £1.99 per month or £9.99 for the first year, then £19.99 thereafter unless you cancel at least seven days before your next billing date. Full T&Cs apply, see thesun.co.uk/club.

BERKELEY — Twelve hours after walking offstage at the Greek Theatre on Tuesday night, David Byrne sits down with a cup of coffee on the patio of a tony hillside hotel and admits that he’s starting to get a little misty.

Last night’s concert on the campus of UC Berkeley was one of the remaining few on Byrne’s yearlong world tour after 2025’s “Who Is The Sky?” album. About an hour from now, a bus will pull up to ferry the 74-year-old musician and the dozen or so members of his touring company to the airport for a quick flight to Los Angeles, where they’re set to perform Friday and Saturday nights at the Hollywood Bowl.

“There’s a firepit over there,” Byrne says, pointing across the patio, “so after the show we all sat around and told stories. Everyone’s such a joy to work with — we’re all having a really good time.” He sighs. “That’s kind of rare, actually.”

“Who Is The Sky?,” which Byrne made with the producer Kid Harpoon, contrasts deep lyrics about art, home and enlightenment with bright pop arrangements filled with crisp grooves and singalong melodies. (Kid Harpoon, whose real name is Tom Hull, is known for the hits he’s created with Harry Styles and Miley Cyrus.) In the show, Byrne blends whimsical new tunes like “My Apartment Is My Friend” and “I Met the Buddha at a Downtown Party” with jittery oldies by Talking Heads, the hugely influential art-rock band he formed in 1975 with Jerry Harrison, Chris Frantz and Tina Weymouth.

Yet even when the songs get dark — as in “Life During Wartime,” which comes with images of police violence on the enormous digital screens behind the players — the mood is euphoric: Like Byrne’s previous tour behind 2018’s “American Utopia,” this one has the musicians holding their instruments as they execute choreographed moves on a bare stage; the result is more or less a nonstop dance party. (Also like “American Utopia,” which Spike Lee adapted into an acclaimed concert film, this tour will make its way to movie screens courtesy of “The Brutalist” director Brady Corbet.)

So you can see why Byrne would be sad to see it come to an end, not least because he’s been using his days off to tool around a given town and take pictures of cool local color. At the top of the gig in Berkeley, he showed photos from a hike he’d taken and of a car he’d come across with a tricked-out sound system.

“Any ideas of things to see in L.A.?” he asks me, dressed in a violet-colored chore jacket only a few shades removed from the blue one he wore onstage. “That hike was a workout. Even some of the dancers said those hills were steep.”

“Life During Wartime” was maybe 15% faster last night than the original record.
Could’ve been, yes. You’ll have to ask the drummers — they set the tempo, and they get excited and it kind of ramps up. It’s sometimes hard for me to keep up — I’ve got a lot of words to get out.

I was fortunate to be at Van Halen’s next-to-last show at the Hollywood Bowl, and I remember every song felt insanely fast.
Wonder if that was drugs?

You ever see Van Halen?
Never saw them live. David Lee Roth was a Talking Heads fan — came to visit our rehearsal loft once. I was kind of surprised: “How did you…?”

David Byrne performs at the Coachella festival in April.

(Christina House / Los Angeles Times)

Would you say things turned out better or worse than the future you predicted in “Life During Wartime”?
Well, we’re not having a total civil war. There’s maybe still a chance that could happen, but it seems there’s more resistance now than there was before — a sense that we don’t have to just roll over and take all the stuff that’s going on. The footage we got kind of hits home.

You show the video of the guy on the bike pedaling away from ICE agents in Chicago.
That often gets a cheer.

I wondered if it ever doesn’t.
In the United States, no. Seeing the underdog get away — that’s a pretty timeworn story. We didn’t have that video at the beginning of the tour — it didn’t exist. I saw it on some news service, and I thought, oh, this has to lead the whole sequence. When we were first putting the show together, we had more video stuff. But screens are really seductive, so you start looking at that. We said, no, you have to connect with real live people, then you can put it up.

Have you been to the Sphere in Las Vegas?
A bunch of the band and I went to see “Wizard of Oz.” I haven’t seen a band in there. But it was really a lot of fun — quite a spectacle with the video all around you.

Don Henley compares the Eagles’ role there to the organist at a silent movie.
The pit band, yeah. That’s a thing to do — works especially well, I would imagine, for bands like the Eagles and other groups that don’t do a whole lot of song and dance.

At 74, can your body do all the dancing you want to do?
Oh, no. With more physical training, I’d probably be able to do a little more than I can now. But I’m never gonna be able to do what some of the dancers can do.

How about what you used to be able to do?
Like in “Stop Making Sense”? There’s some stuff in there where I go, nope, can’t do that. But I can do other things. I don’t have a feeling that I’m barely getting by.

Are you an exerciser?
I have a person I see in New York. It hasn’t happened so much lately because we’ve been moving around so much. But Sasha [Rivero, from the touring company] leads us through these warm-up exercises before shows — kind of a cross between strength training and yoga.

Beyond the value of staying agile, how do you think about maintaining your looks?
I’m aware it’s a thing. If I came across as old and decrepit, it might be less exciting for some of the audience. Not great for business.

When did your hair go gray?
In the ’90s, I want to say. I dyed it for a while when I started seeing a fair amount of gray coming in. Then at one point I was on holiday with my then-wife and just said, “Let’s cut it off and see what’s under there.” By that point it was pretty much all gray. I was OK with it.

Who’s a performer you admire who’s still out there doing it late in life?
Caetano Veloso — he’s served as a role model for me. He’s someone who’s reinvented himself over and over and over again — done records that are very different than the record before. Even on the same record, he can be really experimental and then do something incredibly romantic.

Can you envision a time when you’d stop performing?
I don’t think so. I can see there might be a point where I don’t do as much dancing around.

I’ve seen Willie Nelson probably half a dozen times in the last 10 years. He sits there and plays, and it’s great.
“My Apartment Is My Friend,” that was inspired by a Willie Nelson song: “Hello Walls.” There’s also a George Jones song, “The Grand Tour,” where he takes you into his place: “This is where she sat, that’s where she put out her cigarette,” all this kind of stuff. I loved that you can make an apartment into a character. So I started putting down ideas, and I realized: Should I reveal that it’s about an apartment right off the bat, or should I wait till the last line of the chorus? Before that, you don’t know — it sounds like a love song. The title gives it away. But Tom, when I said “should I change the title?” he said, “The title’s what got me to listen to the demo.”

If I say that the songs from the new album didn’t come alive for me until the show, how does that strike you?
Good and bad. I wish the record had the same impact that the songs have live. But then I also think to myself: Well, the reason you go to see a live show is because you’re getting something more than you get by just putting a record on.

(Josh Edelson / For The Times)

You’ve been playing for years now with this mobile handheld setup.
I wasn’t sure an audience was gonna go for it. I don’t know why, but I thought it was kind of a big step for an audience to take in.

To not have the traditional rock band stage set.
“Here’s the drummer — we know what he does.” There were people on the last tour who would say, “It’s got to be playback — you’re not really playing it.” So I added an introduction to a song where one by one we introduced the musicians at the beginning of the song, and you could hear how we put it together. An unexpected consequence is that it democratized the whole stage experience for the band members. There’s parts where the drummers come to the front and I go to the back, which you would never have in a regular kind of show where the drummer’s stuck on a riser. Everyone gets to be a star — everyone gets to be recognized as an individual.

Would you say your eagerness to share the spotlight could only have come after years of being the focal point?
I have no idea.

Most of the musicians are pretty young.
Younger than me, anyway.

Why is that important to you?
I learn from them — musically but also personally. I learn about what music they’re listening to, what their experiences have been, what their take on things is. They’re not living in the past — they don’t have nostalgia for the good old days.

In 2023, you spent a fair chunk of time looking back with the rest of Talking Heads for a rerelease of “Stop Making Sense.” Did you enjoy that or grit your teeth through it?
It was fine — it was really nice. As we said over and over, we’re very proud of that show and the music that we did and the film that Jonathan [Demme] made. And that it was going to connect with a completely new generation. Jerry came to the show last night. He lives in Marin.

You guys hang out?
Afterwards, yeah. I mean, he had to drive back. He said he enjoyed it — said it was a good show. I connected him with our keyboard player because the keyboard player came up with these interesting technical things I thought Jerry might be interested in. He has an accelerometer attached to his arm — you don’t see it because his sleeve covers it — where he raises his arm and it increases the volume like a foot pedal on a keyboard.

Tell me about Brady Corbet’s concert movie. He shot it in 70mm.
To be honest, I wasn’t sure why. But Brady made the case, and it wasn’t about bringing people into the theater. He said when you go to 70mm it’s a little bit closer to what your eye experiences.

Talking Heads in Italy in 1982: Tina Weymouth, from left, Jerry Harrison, Chris Frantz and David Byrne.

(Luciano Viti / Getty Images)

This is kind of a cutesy formulation, but I wonder if it’s pushing back on the dominance of vertical video.
Biologically and evolutionary-wise, we experience the world horizontally. We don’t go walking around looking up at the sky — the stuff that’s gonna come get us is somewhere on our eye level.

Jimmy Iovine gave an interview to the New York Times the other day where he said one of the last things he asked AI was about your set list.
He could’ve just asked me.

Iovine was extremely pro-AI in this interview. What’s your vibe?
My vibe is positive and negative. On the positive side, we’ve all heard the hype from Silicon Valley that we’re gonna have medical breakthroughs. The negatives — how could there not be massive job loss? What concerns me is the environmental stuff. The last thing the planet needs is a massive increase in energy usage. We’re talking about the survival of species — of everything that lives on Earth. To ramp up that part of what humans do just seems like the worst possible thing you could do.

The other thing that worries me is that machines aren’t really thinking — they’re probabilistic. This stuff has been designed intentionally to mimic human beings, and we are very, very easily fooled. I think that’s dangerous because we give it agency. We assume all these things about it — we trust it. I mean, people will listen to a political argument from a chatbot more than they will from another person.

Seems bad.
Right?

Any worthwhile creative application you can identify?
I used it a little bit to animate my drawings in one of the sequences from the show. They’re my drawings — I wasn’t taking from anybody else. In that case I feel like it’s a tool that’s very efficient. Might put some animators out of work, but if I had to pay the rate for animators on something like that, it would take a year to do and cost me a fortune.

What if the producer on your next record says, “Hey, here’s a little shortcut we can use”?
We already use little shortcuts — Auto-Tune is one. That’s not AI, but we’ve been using those kinds of tools, and there’s always the danger of overusing them. When people use Auto-Tune a tiny bit, it’s pretty much invisible. But on a lot of records — I’m not talking about the Cher record — it’s a little too perfect, and you start to lose the human connection. So it’s not a clear-cut choice of: Do I use this or not? It’s: Do I get seduced and use it too much?

Love Is Blind UK star Ryan has faced viewer criticism since the Netflix show aired, and he has now addressed speculation about his reasons for joining and whether he wanted to ‘boost his profile’

Everyone’s currently talking about about the latest series of Love Is Blind following its Netflix debut on August 19. Presented by celebrity duo Matt and Emma Willis, the social experiment sees British singletons dating in “pods” before getting engaged without ever laying eyes on one another.

While series 3 has now concluded its main instalments, fans can still look forward to the reunion episode, which drops on the streaming service today (August 30). From the 30 singletons who stepped into the pods, we followed six couples who emerged engaged. However, two of these pairs called it quits during the cohabitation stage.

These were Jordan and Yasmin, along with Ryan and Cuba.

The latter duo encountered difficulties after settling into a London flat together, as Ryan’s regular absences owing to work commitments and a family bereavement led to the relationship breaking down.

Cuba sensed his heart wasn’t entirely committed, and Ryan confessed his body was “resisting” the commitment. They formally ended things during episode 9, roughly a week ahead of their scheduled nuptials.

Ryan, 33, has encountered substantial online criticism since the episodes went live. Audiences have strongly condemned how the public speaker behaved towards Cuba after exiting the pods, particularly when he promptly flew off for work and subsequently claimed he required “independent alone time” to unwind away from her.

The criticism reached its height following their split scene in episode 9. After informing Cuba his “body was resisting” the commitment, Ryan bizarrely asked Cuba if she fancied any mango (she declined) before the cameras switched to Ryan aggressively and wordlessly devouring the mango.

Viewers deemed the moment peculiar and detached, sparking viral memes. Ryan has subsequently shared a TikTok (while consuming another mango) justifying his behaviour, clarifying that an entire day’s worth of intense discussions was compressed by producers into “a short, sharp focus on fruit.”

In a separate video, Ryan has now revealed why he genuinely participated in the programme, following questions about how genuine his motivations were.

Posting a reel on his Instagram account, he informed his 15,000 followers that people continuously questioned him ‘why he bothered to apply’ for the programme.

He clarified that he didn’t apply, and was instead contacted by producers, which he maintained ‘was the same for most of the guys’.

Ryan stated: “When I initially had the call, I didn’t know what Love Is Blind was, I’d never heard of it before.”

Following a producer’s explanation of the concept to him, he considered it sounded “crazy” and acknowledges he still believes it is, though he notes it ‘clearly has a track record of working’ in certain instances.

He mentioned that as he progressed through the experience, he was “very vocal about his apprehensions”, yet his “curiosity was peaking”. Ryan also revealed that when weighing up whether to appear on the show, he found himself reflecting on the role of appearance in today’s world.

“Yes, they’re important,” well to me they are anyway and I think to most people,” he said in the clip.

“We live in a very image-focused world, where most people put most of their pride and joy in how they physically appear, instead of what’s inside.”

With that in mind, he said he ‘genuinely thinks the experiment is a really interesting concept to see if you can connect and communicate with someone deeply without ever seeing him. ‘.

“That’s what really got me in,” he admitted.

Ryan described himself as “open” to getting married, because he was single. “I was so scared, but open to it,” he said.

The public speaker also hit back at suggestions he had simply signed up to the show to “boost his profile”. He retorted: “I think that most people know that when you go on a reality show, you are seen and there’s massive drawbacks and some benefits to that.

“I don’t need or want some plastic clothing contract off the back off this, that’s not what I’m about.”

Which Love Island Blind UK series 3 couples got married?

In the finale of Love Is Blind UK season 3, a record-breaking four couples successfully walked down the aisle and got married. These were Sophie and Taylor, Ciara and Ajay, Faye and Jack and Francesca and Joseph.

Nearly everyone in the pods got engaged during Season 3 of Love Is Blind: UK. Out of the 30 singles who entered the experiment, a staggering 14 couples got engaged.

This shattered a global record for the entire Netflix franchise. Because there were far too many engagements for the production team to physically follow, they had to make difficult editorial choices. As a result, viewers only saw six couples on screen.

The Love Is Blind UK Season 3 Reunion will air on Sunday, August 30 2026 on Netflix

Sammy and Jonathan were one of a number of couples whose romantic journeys were never shown on the Netflix show

Love Is Blind UK’s third season saw a record number of engagements – but only a handful were shown.

The Netflix reality dating show sees 30 singles sent on a string of blind dates in the show’s pods which are designed to prevent the contestants from ever seeing each other. The only way they can meet a potential partner face to face is if they accept a marriage proposal from them.

An unprecedented number of contestants became engaged during the latest season – 14 to be precise – though just six of those love stories were shown to viewers at home.

The show’s executive producer, Nazleen Karim, previously addressed why they cut some couples on the programme but kept following others. She explained: “When there are more engagements than we can physically follow, we have to make difficult editorial choices. We’re looking for a range of different relationship journeys and stories that together capture the full experience of the experiment.

“Not being selected isn’t a reflection of the strength of a relationship – many couples continue exploring their connection once they leave the pods.”

Now, one couple who were cut from the show revealed what happened to them afterwards, and the remarkable journey they have been on since.

Tech recruiter Jonathan, 32, and wellbeing coach and entrepreneur Sammy, 31, found a connection in the pods and became engaged, but their dates, nor that all-important proposal, were ever shown.

In a tell-all Instagram post, Sammy recounted that she asked a producer to give Jonathan her number after they were told they would not be continuing on the programme, and the pair continued to date in the real world.

Since leaving the show in August last year, they have jetted off on holiday together, met each other’s families, got a dog together named Poddy in homage to the show, and remain engaged to this day. Sammy also revealed the devastating news that the pair had suffered a silent miscarriage in June.

“We lost our baby to a silent miscarriage and honestly, we really struggled,” she shared. “Grieving whilst still living on opposite sides of the country was one of the hardest things we’ve had to face together.”

While she admitted the pair were still navigating the loss, Sammy revealed their love story still endured. She added: “We didn’t get picked to continue on Love Is Blind. At the time, that felt like the end of our story. Turns out, it was the beginning of the best bit.

“No cameras. No experiment. No guarantees. We just kept choosing each other, and now you’re finally in on the secret.”

Love Is Blind UK series three is now streaming on Netflix. A reunion special will air tomorrow night (August 30) at 9pm.

The former BBC child star is leading a completely different life away from the spotlight

The Queen’s Nose star Victoria Shalet looks almost unrecognisable over 30 years since she rose to fame.

Fans of the nineties show will remember the actress playing Harmony in the children’s programme, which was based on Dick King-Smith’s novel of the same name.

It followed Harmony, a 12-year-old who was gifted a magical 50p coin by her uncle Ginger. The coin had powers to grant wishes when Queen Elizabeth II’s nose was rubbed.

Leading actress Victoria starred on the show from its debut in 1995 until season four, when the story took a new direction without her character.

But her career didn’t end there, Victoria went on to appear in TV shows like The Quest and Midsomer Murders.

The London-born performer also had memorable movie roles in the 1995 horror Haunted and 2003 drama Eroica. But even Victoria’s biggest fans would struggle to recognise the actress now, almost 15 years since her last role.

The 44-year-old is now a psychotherapist for individuals and couples, working in areas including abuse, grief and child-related issues.

Victoria recalls her past life on her website, writing: “Before becoming a psychotherapist, I spent over two decades working as an actor in film, television, theatre, and radio.

“This immersive experience of observing and portraying the human condition deepened my curiosity about why we do what we do—and how our internal world shapes our behaviour and relationships.”

She has previously opened up about leaving the industry, confessing that she simply lost her spark for performing.

Speaking to Glamour, she explained: “From the age of six, I was acting, but I got to my early twenties and realised my heart just wasn’t in it.

“Then I had some therapy myself and it really did make me re-evaluate what I wanted from life. I did a foundation year in counselling and knew I wanted to take it further.”

Victoria went on to describe the moment everything changed, sharing: “The crunch came when I was accepted onto a training course that would qualify me to be a therapist.

“On the same day, I got a call-back from an audition to be a regular in Holby City. When I didn’t get the part, I saw it as a sign that I had to give up acting altogether to do the three-year course. I had to make a choice and I’ve never regretted it.”

Old episodes of The Queen’s Nose are currently available to watch on YouTube

Yayoi Kusama, the Japanese artist known for her hypnotic, repetitive polka dot artworks, died earlier this week at the age of 97. Hers was the third in a string of deaths this week that left me feeling quite melancholy. First Dolly Parton, then Tim Curry and finally, Kusama.

The silver lining in the death of an artist, whether they be musician, actor, writer or visual artist, is that they leave a trail of comfort for fans through their work. I can (and did) sit in my breakfast nook weeping to the sound of Parton’s voice in songs including 1971’s “Coat of Many Colors.” When it comes to mourning Kusama, I am planning a trip to the Broad museum in downtown L.A., which houses two of her famous Infinity Mirror Rooms.

“Longing for Eternity” (2017) is on view on the third floor and can be accessed with a free general admission ticket. “Infinity Mirrored Room —The Souls of Millions of Light Years Away” (2013), however, requires a separate free reservation. A rep for the museum said reservations are currently available through September with many time slots already completely full. The museum is also accommodating as many walk-ups as capacity allows — and these walk-ups have increased in the wake of Kusama’s death.

In an email to The Times, Broad founding President and Director Joanne Heyler wrote that Kusama’s Infinity Mirror Rooms, “have been among the most beloved works at The Broad since we opened in 2015.”

Heyler noted that the Broad’s 2017 exhibition, “Yayoi Kusama: Infinity Mirrors,” “was an incredible moment in the museum’s early history. It was a beautiful show, and unprecedented operationally: the only time our ticketing system broke down due to demand, minutes after release. Her work is both wildly popular and conceptually rigorous; her journey as an artist is complex, full of resilience and a refusal to be limited. Visitors have found deep connection inside the Infinity Mirror Rooms at The Broad — smiles, tears, even marriage proposals. We’re grateful to be one of the places where people can go to spend time with her work and remember her, and we’ll keep working to ensure her art is experienced as she intended: by everyone, infinitely.”

This is welcome news, and the devoted interest makes sense. In many ways, these physically small but emotionally vast rooms encapsulate the essence of Kusama’s practice throughout her life. Built in a distinctively analog way, the rooms create the illusion of endless space through the use of light, mirrors and splashes of color. Kusama incorporated hand-sewn cloth, and later, multimedia video projections, but at their core the rooms remained largely technology-free.

The irony being that a decade ago they emerged as social media sensations, and were ubiquitous in selfies across the internet as they traveled from blockbuster show to blockbuster show.

It’s a pity because all the people who stepped into those rooms with their cellphone cameras at the ready missed a profound opportunity to inhabit a floating dreamscape of true peace and quiet — the kind we rarely grasp in our digital-notification suffocated world.

I can still remember the first time I had the opportunity to experience one of Kusama’s Infinity Mirror Rooms. It was dark and glittering with tiny pinpricks of colored light. I felt as if I were suspended in a deep, black pool of energy that extended beyond me in all directions. I could hear my blood rushing in my ears and briefly wondered if this could be what it felt like in the womb.

I got dizzy and recovered, and then — for what felt like a long time but was only a matter of seconds — I was free.

I’m Arts editor Jessica Gelt taking moments of solace where I can get them. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Babatunde Akinboboye
The baritone fuses classical opera with hip-hop on “Toreador,” “Funiculi, Funicula,” “O Sole Mio” and more.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Director Richard Linklater at the 2023 Toronto Film Festival.

(Jay L. Clendenin / Los Angeles Times)

Richard Linklater
A three-movie American Cinematheque tribute featuring Q&As with the Texas filmmaker. In a recent interview, Times film writer Mark Olsen asked Linklater what it’s like to reflect on his work: “What resonates with me in my mind is the experience of making the movie more than the movie itself — all the people you worked with and the cast and all those good feelings.”
“Boyhood,” 7:30 p.m. Friday; “Waking Life,” 4 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica; “Dazed & Confused,” 7:30 p.m. Saturday. Directors Village, 961 Broxton Ave. Westwood. americancinematheque.com

Pericles
Boston Court, in partnership with Play On Shakespeare, presents the West Coast premiere of Ellen McLaughlin’s modern verse translation of Shakespeare’s rarely performed adventure tale. Directed by Margaret Shigeko Starbuck.
Through Sept. 27. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

Romeo & Juliet
A site-specific, immersive, queer adaptation of Shakespeare’s tragedy.
7:30 p.m. Friday and Saturday; 1 p.m. Saturday and Sunday. Sassafras Saloon, 1233 Vine St. eventbrite.com

SATURDAY

Place Is the Space
A four-hour immersive performance experience created by artist Edgar Arceneaux and co-creator Frank Lawson employs live jazz improvisation, theatrical storytelling and multimedia design inspired by Sun Ra’s philosophy and his film “Space Is the Place.” Presented by CAP UCLA, the event includes an audience procession to the Hammer Museum in conjunction with the current exhibition, “Space Is the Place,” for a final performance.
1 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Joshua Smith Untitled (Yellow Heart), 2026 Acrylic on canvas 14 ¾ x 14 ½ in.

(839 Gallery)

Joshua Smith: Hearts and Triangles
The artist’s first Los Angeles solo show includes brightly colored monochrome paintings on shaped canvases.
Opening reception, 5-8 p.m. Saturday; exhibition continues through Oct. 17. 839, 839 N. Cherokee Ave. 839gallery.com

Winter’s Bench
The world premiere of Mike Kenny’s play about a woman who returns to a park where she thinks a tree once spoke to her. Starring Anne Gee Byrd and Shih-wei Wu. Directed by Debbie Devine. All performances will feature Spanish supertitles.
Previews, 8 p.m. Saturday; 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and Sept. 4; 8 p.m. Saturdays, 2 p.m.; Sundays, 8 p.m.; Sept. 7 and 14; through Oct. 25. 24th Street Theatre, 1117 W. 24th St. 24thstreet.org

SUNDAY

Element Band
Led by Ara Dabandjian, the ensemble features 12 musicians and vocalists, including Soseh Aramouni Keshishyan and Natalie Avunjian, in a celebration of Armenian heritage, creativity and live music.
7:30 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

TUESDAY

Dvořák & Bruch
Conductor Anja Bihlmaier and violinist Bomsori join the Los Angeles Philharmonic.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Amadeus in Concert
The Los Angeles Philharmonic, led by conductor Norman Huynh, conductor, and the Pacific Chorale perform live to Milos Forman’s 1984 Oscar-winning best picture starring Tom Hulce and F. Murray Abraham.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

The Arsonists
Max Frisch’s 1953 absurdist satire, translated by Alastair Beaton and directed by Luke Harlan.
8 p.m. Thursdays through Saturdays; 5 p.m. Saturdays; 2 p.m. Sunday; through Sept. 20. Skylight Theatre, 1816 1/2 N. Vermont Ave. skylighttheatre.org

Under the Oaks
A weekly salon series featuring performance and music: “Currents: Composers in Concert” (Sept. 3); “Beer! A New Musical-in-Development” (Sept. 10); “Cabaret Theatricum Sings Marvin Gaye” (Sept. 17); and “The Voice of Dr. King” (Sept. 24.
7:30 p.m. Thursdays through Sept. 24. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd. Topanga. theatricum.com

Arts everywhere

Sarah Bareilles in the documentary “Sarah Bareilles: Good Grief.”

(A Group Effort Films / Naked Edge Films)

Sara Bareilles: Good Grief
The Grammy-winning Broadway star and pop singer’s return to the recording studio for the first time in seven years is captured in this intimate documentary directed by Josh Alexander receiving a one-night-only theatrical release. The film looks at Bareilles’ experience of channeling her own pain to create art and the healing journey that accompanied it. Bareilles will perform at the Dolby Theatre, Oct. 12-14.
7 p.m. Wednesday. Laemmle and AMC theaters. sarabmusic.com

Culture news and the SoCal scene

Dolores Huerta photographed at Dolores Huerta “Help Wanted/Leave Now” exhibit at California Museum.

(Beth Baugher / California Museum)

Dolores Huerta has prioritized involving herself in projects relating to labor and women’s rights in the wake of going public with sexual abuse allegations against former labor leader Cesar Chavez. One of those projects can now be seen at the California Museum in Sacramento in an exhibition called “Help Wanted/Leave Now: ‘Operation Wetback’ and the Revolving Door of Mass Deportation,” which, according to a story by contributor Isa Farfan, “examines decades of the federal government’s deportation campaigns against Mexican immigrants even while it recruited millions of these farmworkers and rail workers to fill labor shortages during and after World War II.”

Contributor Leah Ollman reviews a new Eileen Cowin retrospective called “Between Panic and Paradise” at Los Angeles County Museum of Art. Labeling Cowin a “wry disruptor,” Ollman notes that over the artist’s nearly six-decade career, she has toyed with time in a novel way: “By deviating from straightforward chronology, the installation resonates smartly with one of Cowin’s key operating principles — that we don’t experience time as a continuous line moving in one direction, but as episodic, fragmented, interrupted, layered.”

Gustavo Dudamel at the end of the first half his show at the Hollywood Bowl on Aug. 20.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel is really leaving — although it feels as if the city has been mourning the eventuality for years. Times classical music critic Mark Swed was, of course, on hand to bear witness to Dudamel’s final farewell: a four-night Hollywood Bowl extravaganza. “Dudamel addressed the audience, sounding very much like he had 17 years ago at the Bowl, extolling in our being a crowd of many types together for many musics. L.A., he said, made him an Angeleno,” Swed wrote.

Swed also attended a Tuesday night show at the Hollywood Bowl after the Dudamel farewell extravaganza and found it rather empty and a bit “forlorn,” a situation, he writes in a review, that “left Anna Handler, who becomes the Los Angeles Philharmonic’s conductor-in-residence this fall, with the trickiest conducting assignment of the summer anywhere.”

Theater Director Bart DeLorenzo on the set of “Enemy of the People” at the Odyssey Theatre on Friday, Aug. 21, 2026.

(Ariana Drehsler / For The Times)

Times theater critic Charles McNulty recently sat down for a lunchtime conversation with Bart DeLorenzo, “L.A.’s most playfully provocative theater auteur,” about his decision to direct (and adapt) Henrik Ibsen’s “Enemy of the People” at Odyssey Theatre. “If ever there was a moment to revive ‘An Enemy of the People,’ it’s now,” McNulty writes. “The demoralizing spectacle of the U.S. Senate’s inquisition of Dr. Anthony Fauci last month, led by Sen. Rand Paul (R-Ky.) in unapologetic witch-hunt mode, was yet another reminder that Ibsen’s drama about a public health crusader being targeted by politicians and business leaders when his medical advice goes counter to their interests hasn’t lost its punch.”

The drama never stops at the beleaguered Kennedy Center as it deals with the continued tumult resulting from President Trump’s takeover early last year. Most recently the Justice Department claimed in a recent court filing that Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal.” If the center isn’t shut down for the two-year renovation Trump demands, it may need to be demolished, the filing reads.

Visitors line up outside the Japanese American National Museum for a 2022 event recalling World War II incarceration camps.

(Genaro Molina / Los Angeles Times)

After closing in early January, 2024, the Japanese American National Museum has announced it will reopen its newly renovated Pavilion on Jan. 23, 2027. Renovations include a new main entrance and new first-floor galleries for a brand new exhibition titled “In the Future We Call Now: Realities of Racism, Forging Democracy.” The special exhibition galleries on the second floor have also been updated and will feature the inaugural exhibition, “Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo.”

The Broad has announced its next fall exhibition, “Has the myth been shattered,” opening Nov. 21. The exhibition is set to include recent acquisitions by Guadalupe Rosales, Hank Willis Thomas and Mickalene Thomas. “Gathered together, works in the exhibition create unexpected connections across six decades, prompting an examination of how media has shaped history, memory, and collective experience,” a news release notes.

— Jessica Gelt

And last but not least

A little rare bird is making people happy, and I’ll take the moment of levity.

THE new Ali G film is facing a cinema boycott as a major UK chain “have no plans” to show the sequel.

The movie mockumentary revives Sacha Baron Cohen‘s famous character after the original movie was unveiled 24 years ago.

The brand new film, Ali G: Who Iz I?, sees Sacha play the character once more in a ‘real-life’ setting.

But in a surprise move, Picturehouse Cinemas, which has 25 cinemas across the UK, will not show the upcoming film after its release in October.

Media watchdog NewsCord demanded cinemas to refuse to screen the film due to “satire using a cover for enforcing racist stereotypes”.

The platform claimed Baron Cohen had “enforced harmful stereotypes across marginalised communities through his characters”.

back in da house

Ali G movie mocks Ed Sheeran & reveals ‘new’ Julie replacing Kellie Bright

big news

Ali G movie title & release date confirmed after Sacha Baron Cohen revives role

So far they have sent around 27, 000 emails from supporters to cinemas nationwide to stress their concerns.

In a statement, Picturehouse confirmed to Metro: “We currently do not have any plans to screen this film on its release.”

NewsCord also claimed that the film’s studio Amazon MGM had “revived a racist caricature”.

Joining Ali G in the flick will be his girlfriend, Julie, played by actress and impressionist, Morgana Robinson.

She filmed the role alongside Sacha in secret over the course of a year and replaces EastEnders star Kellie Bright in the part.

In the movie, she will be revealed to be eight months pregnant – something that the characters struggle to get their head around.

In one of the clips from the film’s preview, they can be seen at a doctor’s office with Ali G begging the doctor to simply say that Julie is “bloated” and not actually pregnant – despite her visible baby bump.

He later puts her positive pregnancy test in his mouth and pretends to use it as a vape.

Elsewhere, the trailer sees Ali G poking fun at Ed Sheeran as he remarks on what the world has ‘survived’ since the original movie’s release in 2002 and insisted things had “turned to c**p”.

Speaking in the trailer, he said: “I’ve been gone for 20 years, chilling.

“And in that time, the world went to c**p.

“There’s been Wars. Covid. And Ed Sheeran.”

He continued: “I’m going to get back on top with a brand new thing called a ‘documentary.’

“For the first time ever, this is with real people not actors. For more than a year we let the cameras follow me everywhere.

“Nothing was off limits.”

The film is expected to be released in cinemas on October 23 with the movie being distributed by Amazon MGM.

The character was first introduced by Sacha on Channel 4‘s The 11 O’Clock Show in 1998 before the character became even more widely known for the 2000 sketch comedy series, Da Ali G Show.