show

TAKE That’s Gary Barlow has bid goodbye to the Circus tour in an emotional statement to fans.

The 55-year-old and his band mates Mark Owen and Howard Donald have been travelling the UK with their returning Circus tour this year that they first performed to audiences back in 2009.

But in a candid new statement, Gary revealed ‘with a heavy heart’ that it’s unlikely the Circus tour will ever return again as he opened up on the physical toll of the tour.

“Best tour ever – to say that 35 years into our career is saying something #circuslive,” he began. “And another tour comes to a close.

“Somehow, this one feels a little different. With the other tours, it’s always comforting to know there will almost definitely be a next time. But I’m pretty sure this tour won’t return.

“I was 38 when we originally did this show, and I have to say it’s been a whole other challenge doing it as a 55-year-old,” he admitted. “I just can’t see a way I could physically do this show again.

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“So, it’s with an extremely heavy heart that I leave The Circus in my past. I got to run away with The Circus twice. Now I’m running towards our next exciting, brand new show.”

The boy band concluded their tour in Dublin on Saturday night, having performed a number of sold-out shows in London, Manchester, Cardiff, Southampton and Coventry throughout the year.

Fans were quick to congratulate Gary on another brilliant tour reacting to his statement online.

“We came to the circus with you & you were phenomenal, one of the most magical days of my life, last Saturday in London,” wrote one user on X. “You boys did yourselves & the Circus proud.”

While another penned: “Thank you for bringing this amazing show again. Watched it back in 2009 and 16 yrs later you guys did not disappoint.”

Others agreed, calling it a ‘magical experience’ seeing it live again, with one fan thrilled at having seen it in 2026 having missed out on the 2009 experience.

“Utterly amazing,” they tweeted. “I didn’t get to the first Circus tour and vowed to try and get to every tour after watching on DVD. So glad you did a second Circus tour. Box ticked.”

Despite just finishing up the Circus tour, Gary, Mark and Howard have no plans to slow down as they begin promo on a new single.

Sweet July dropped on Friday and is available to stream now.

The trader-turned-campaigner argues that drastic steps need to be taken to close the UK’s huge wealth gap

Millionaire trader-turned-inequality campaigner Gary Stevenson is proposing a 2% annual tax on all those who have wealth above £10million in the UK.

The TV presenter will set out his argument in a Channel 4 programme in which he explores the growing concentration of wealth in Britain. He says that the UK’s poorest billionaire, with a wealth of just £1billion, makes £50 million a year in passive income at a rate of just 5%. That is nearly £1million every week, without getting out of bed.

And Gary, 40, argues that if nothing changes, the concentration of wealth at the top will only accelerate. “If this continues, it is inevitable that the billionaires and the super-rich will own a larger and larger share of the real wealth of this country, meaning other groups in society, the working class, the middle class, and the government will progressively own less and less.

“If we do not do anything about this system then very, very quickly the billionaires will own everything, and you will own nothing.”

In the UK, the richest 56 people have equal wealth to 27million people. In 2025 alone, the average billionaire grew their wealth by £231million. Meanwhile wages, in real terms, are lower than they were almost 20 years ago and the average student debt in England has soared from £3,200 in 2000 to £53,000 today.

Taxing wealth rather than income is not a new idea – Norway, Switzerland and Spain already have wealth taxes. Under his proposal, a person worth £11 million would pay £20,000 in tax a year, while some one worth one billion would pay £20 million.

Some estimates suggest that this system could raise £24billion annually, enough to fund the NHS, build affordable housing or cut taxes for workers who are on lower incomes.

A poll of 4,142 British adults found that 75% of the public support a wealth tax along with many experts. Gabriel Zucman, Professor of Economics, tells Gary: “There is a problem in our tax systems which is that the very rich have lower effective tax rates than the rest of the population.”

But there are plenty of billionaires, aristocrats, tax experts and finance influencers who argue against it. In the programme Reform party donor and billionaire entrepreneur Bassim Haidar – whose wealth is growing at around 12% a year, says that if it happened, he’d sell his businesses and quit Britain. “I would exit completely. Yeah, even if I sell them at a loss, I don’t care, cause it becomes a matter of principle. Wealth is mobile, so I’ll walk away. And listen, I’ll take a hit for one year, that’s fine. But then I’ll go, and I’ll never come back.”

Gary, who grew up in Ilford, east London, the son of a postman, thinks Haidar is scaremongering. “Rich people generate the majority of their income from owning assets. Your house, your supermarket, the farms that grow your food, the power plants that create your energy,” he argues. “Many wealthy people own assets which are fundamentally fixed to this country.”

He also discovers wealthy people who are quite happy to give a bit more. Julia Davies, who made her fortune building an accessories business and is a member of a group called Patriotic Millionaires, is one of them: “We’ve got to stop normalising this idea that it is normal to try and avoid contributing to public services and infrastructure, if you can massively afford to do that. I’m a millionaire, I’m not going anywhere. Why would I uproot myself and my family just to avoid contributing a bit more?”

– How to Get Filthy Rich with Gary Stevenson, Wednesday 8 July, 9pm, Channel 4

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

In New York, the Brooklyn Bridge went up in flames briefly during a fireworks display. In Washington D.C., stormy weather delayed a grievance-filled speech by President Trump.

And here in Los Angeles? On Saturday night, tens of thousands of Angelenos joined voices peacefully at the L.A. Memorial Coliseum to sing along with Chris Stapleton as the country star compared a lover to Tennessee whiskey.

A unifying cultural figure beloved by both liberals and conservatives, Stapleton was the headlining act at a Fourth of July benefit concert that also featured Smashing Pumpkins, Chaka Khan, Maren Morris and Queen Latifah. (I’d be surprised if those five names had previously appeared together in the same sentence.) The show, with tickets priced at $17.76, was presented by America250, a bipartisan commission that Congress created in 2016 to plan celebrations for the country’s 250th birthday; proceeds went to Feeding America, which calls itself the largest domestic hunger-relief organization in the United States.

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“No politics — just purpose” is how America250 Chair Rosie Rios described the night in remarks from the stage, and it wasn’t hard to interpret the distinction she was seeking to draw between her group and Freedom 250, Trump’s rival semiquincentennial initiative that organized Saturday’s windblown event on the National Mall (not to mention an earlier concert by Vanilla Ice that was called off due to the threat of rain).

But here’s the thing: Compared with the president’s celebration, where he complained about his treatment by the justice system and suggested we should refer to his current term as his third, the show at the Coliseum really did feel like a politics-free zone — the somewhat rare occasion these days when folks from different walks of life come together just to listen to music and drink overpriced micheladas.

Said Stapleton not long into his set: “I won’t waste time talking.”

America250’s success was hardly a sure thing. Despite the relatively low price, tickets moved slowly in the weeks before the concert; one guy I talked to Saturday told me he’d paid six bucks for a discounted pass. Yet to my eyes the Coliseum was close to full by the time Stapleton came on.

The country singer was as solid and soulful as always, snarling gently through “Bad as I Used to Be,” then trading loving harmonies with his wife, Morgane, in “Millionaire.” He closed with “Tennessee Whiskey,” of course — a trusty yet somehow un-shopworn piece of Americana that’s earned a place on the shelf next to Ray Charles’ “Georgia on My Mind” and Willie Nelson’s “Angel Flying Too Close to the Ground.”

Smashing Pumpkins was perhaps a stranger fit for an explicitly patriotic event — “The world is a vampire,” frontman Billy Corgan sneered in “Bullet With Butterfly Wings” — yet the band sounded sharp and punchy in the ’90s alt-rock hits that have brought zoomers and even Gen Alpha kids into its audience.

Billed not inaccurately on the concert’s poster as “the legendary Chaka Khan,” the 73-year-old funk doyenne flexed her vocal chops in jammy renditions of “Ain’t Nobody” and “Tell Me Something Good” and got people hoisting their drinks for “I’m Every Woman.” Morris, who’d flown in from New York after attending her pal Taylor Swift’s wedding on Friday night, made an improbably smooth segue between her and Zedd’s synthed-up “The Middle” and the rustic “My Church.”

As the show’s host, Queen Latifah dispensed uplifting thoughts about American idealism throughout the evening but also got a slot of her own to do her classic “U.N.I.T.Y.” with help from a rambunctious drum line. It’s an unapologetic message song about demanding respect, and what was moving about hearing it here is that nobody seemed put off by that idea.

I’ll wave a flag for that.

Here are more photos from Saturday’s concert:

Chaka Khan performs.

(Myung J. Chun / Los Angeles Times)

Queen Latifah hosted the show.

(Myung J. Chun / Los Angeles Times)

A couple in patriotic garb share a kiss.

(Myung J. Chun / Los Angeles Times)

Smashing Pumpkins performs.

(Myung J. Chun / Los Angeles Times)

A concertgoer enjoys confetti.

(Myung J. Chun / Los Angeles Times)

Maren Morris performs.

(Myung J. Chun / Los Angeles Times)

LISA Faulkner and John Torode have been dealt another blow following her breast cancer diagnosis earlier this week.

The TV couple have reportedly learned that their cookery show, John & Lisa’s Weekend Kitchen, has been shelved after ten series.

Amid ongoing budget cuts at ITV, the show is notably absent from upcoming schedules.

According to The Mirror, the couple remain hopeful that the popular cookery programme could return to the channel at a later date.

An insider told the publication: “John remains a regular contributor to This Morning, where he has been fully supported by everyone, including hosts Ben Shephard and Cat Deeley.

“The truth is there are no current plans for series 11 of Weekend Kitchen but no final decision has yet been made over whether it will return in the future.

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“And John is very much a part of the ITV family through his role as a regular chef on This Morning.”

ITV confirmed that no final decisions have been made yet regarding the future of the show.

The news comes after John suffered a major career setback last year when he left MasterChef.

An inquiry, ordered by MasterChef’s production company, upheld a claim that the chef had used an “extremely offensive racist term”, which he said he had “no recollection of”, and he subsequently departed the show.

His wife Lisa announced her shock cancer diagnosis on Thursday, revealing that she had already undergone surgery and was awaiting a course of radiotherapy.

Lisa is best known for her acting roles in shows including Holby City and EastEnders, and in recent years has carved out a successful career as a TV chef.

She won Celebrity MasterChef in 2010 before going on to front John & Lisa’s Weekend Kitchen alongside her husband.

Comedy saved Teruko Nakajima’s life.

In 2016, Nakajima received psychiatric care at Cedars-Sinai Medical Center, diagnosed with depression, PTSD and suicidal ideation. Her doctors searched for ways to manage her stress by exposing her to various activities, including video games, serene Icelandic landscapes and an aerial silks performance. The last brought her anxiety down, revealing that the arts were the answer. Her doctor prescribed the arts, comedy specifically, so she went to the Upright Citizens Brigade for class.

She found a calling and a safe space in comedy.

“I didn’t know I was born a comedian,” Nakajima said. “Finally, I really felt I was accepted as a comedian, validated for who I am.”

Nakajima shares her healing journey to the stage in “Made in America,” which just had an encore performance at UCB on Tuesday after its award-winning run in 2022 (it is also available for streaming on UCB’s website through Tuesday). The one-woman show arrives in time for the United States’ 250th anniversary on Saturday, documenting Nakajima’s search for the American dream as a first-generation Japanese American woman. “Made in America” premiered in 2022 at the Hollywood Fringe Festival during Joe Biden’s presidency and following the Jan. 6 United States Capitol attack. In 2026, its musings on identity and belonging pierce through today’s political landscape shaped by Donald Trump’s second presidency.

“I wanted to let people know this is an American story,” she said.

“Made in America” is about Nakajima’s life. It begins in her mother’s womb. She felt so safe there, she yearned to return. Growing up, she experienced an emotionally and physically abusive life at home, recalling her father breaking furniture and her mother’s alcohol-induced belittling comments. But her name, Teruko, translates to a “shining child.” Thus, she proclaims in the show, “I’m a superstar!”

The beauty in “Made in America” is Nakajima’s ability to find the humor in her trauma. When the show transitions to her life in America, she talks about her life as a dominatrix in New York City and her struggles with romance in Los Angeles. Her comedic jabs at the American economy and humorous reflections juxtapose somber moments of stillness in the midst of her struggles. This balance puts her life into perspective, revealing a positive personality beneath a dark saga.

Nakajima performs “Made in America” at Upright Citizens Brigade Theater.

(Nick Rasmussen)

“I look very happy-go-lucky and cheerful, but actually, I am a very dark person because I have a dark history,” she said. “I always wanted to leave my story behind. I wanted to leave my mark in this world before I died, so I needed to make something.”

The first class Nakajima took at UCB was John Flynn’s storytelling course. There, she started building pieces of the show without realizing it. As they added up, the idea for a show surfaced. After class one day, she asked Flynn to direct it. Flynn, who has been teaching at UCB in New York and L.A. for about 20 years, agreed.

“She disarms people,” Flynn said. “There’s something about her that is just so unique and so delightful that you won’t forget her.”

Flynn first met her at his storytelling open mic. She walked in with her emotional support dog Titi (also known as Tiny Teruko), wearing her signature red heart-framed glasses, without lenses. Soon, these glasses would make him double over in laughter when she performed and cried, dabbing her eyes with tissue through the frame.

“When you start to learn her story and the experiences she’s had, it is amazing that she is so positive,” he said. “She’s such a sort of undeniable positive energy that she just radiates all the time, which is so compelling and why people are so drawn to her.”

Revived at UCB amid Trump’s second term and the nation’s 250th birthday, Nakajima’s show doubles as a defiant immigrant love letter to America — and a refuge for audiences feeling alone.

(Nick Rasmussen)

Nakajima puts all of herself into the show. Aside from comedy, she has been a cheerleader in Japan, a salsa dancer in New York and a sculptor on the side — she loves sculpting MLB players’ butts; Derek Jeter is her favorite. In the show, she folds these aspects of her life into a single story, dancing from section to section. Comedy is more than just laughs; it’s storytelling.

“I am so good at cheering people up, since I was very little,” she said. “I had no competition with others because I’m the one and only. Nobody looks like me.”

Together, Flynn and Teruko parsed through her life stories to give the show an arc. For Flynn, it’s like carving away at what is already there to create something fun and cohesive, like a sculpture. “What’s fun about directing one-person shows like this is that it’s usually just two people in a room putting something together,” Flynn said.

Bringing the show back this year, the work gets sharper and tighter, but the biggest shift is in its conclusion. Once optimistic about the future of life in America, the show now has a stronger desire to make change. There was a sense of hope in 2022 for women like Nakajima, an immigrant who sought safety in a new country and struggled with abuse from her family and strange men. Today, as Trump’s immigration policies lean on deportation and discrimination, she simply wants to be seen.

“America, thank you for not giving up on me,” Nakajima said toward the end of the show. She is proud to be American, not just because she gets to have the same nationality as her dog Titi, but primarily because of the new life it offered her. America promised happiness. Whether it actually comes is another story, but in this one, the promise itself gave her a sense of purpose.

“After the show, people come to me in person and through messages,” she said. “A lot of people said, ‘I felt like I am not alone.’ That gives me so much hope and unity. I feel safe and like I have something to look forward to because I’m not the only one.”

Flynn realized how much he took for granted while working on the show with Nakajima. “I think, even though these are scary times and things seem to be going in directions that aren’t the best, there are still great people, and there’s something that is still there and is not dying and is still fighting,” Flynn said.

When she began her acting journey, Nakajima thought she’d turn to drama, but there’s something more unguarded in comedy.

Nakajima holding up her dog Titi during a performance of “Made in America.”

(Nick Rasmussen)

“I’m very authentic and invincible through comedy,” she said.

By the end of “Made in America,” Nakajima is no longer trying to find her way back to her mother’s womb. She is confident in her place in the world. She remembers that she is a star. She brings out her dog Titi, who was hidden on stage throughout the entire performance, and shares that UCB gave her a new outlook on life. Comedy breaks away her stresses and allows viewers to be vulnerable with her.

“I always wanted to feel safe,” she said. “I never had that. Finally, I found a safe space, and then I realized that I’m actually important. I’m actually worthy. I’m so happy right now to be able to express myself through comedy because it’s the truth.”

The country will celebrate its 250th birthday Saturday, and it seems nobody quite knows how to feel about it. Being a thoughtful American in 2026 has become an art form unto itself — a balancing act two-and-a-half centuries in the making. Marking the anniversary of the signing of the Declaration of Independence requires the acceptance of a paradox so profound that it feels almost insurmountable: The great American experiment has failed; and it is also a triumph.

I’m writing this at near midnight on a muggy night in Pennsylvania — about 300 miles from Philadelphia, where in 1776 the Continental Congress adopted a document bearing one of the most famous and idealistic lines ever written: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

Hundreds of years later, the course of human events has once again made it necessary for us to dissolve certain bonds, only the resulting revolution has been metaphorical and waged largely online. We have become a people pitted against one another in thought and in action. In the words we write on social media, the news we choose to consume on our siloed feeds, and the way we treat those who believe differently than we do.

How do we come together to celebrate the monumental achievement of this improbable democracy, which should be made stronger through our respectful disagreements and ability to compromise in search of a higher truth? It may be foolish to say we must lead with kindness when so much raw anger abounds, but that is all we can do. It is what we must do.

Art can help — the music, paintings, dances and plays that remind us in myriad ways that we are not alone. You’ll have access to plenty of such sustenance on this highly anticipated anniversary weekend. So if you are, like me, facing the fireworks with trepidation, find a way to lock into a favorite song, or read a poem that moves you, and the worry will pass. It always does.

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

The week ahead: A curated calendar

SATURDAY

Richard Dreyfuss, left, Roy Scheider and Robert Shaw in the 1975 movie “Jaws.”

(Universal Pictures)

Jaws
Just when you thought it was safe to go back to the theater, a series of shark attacks are expected across the city Saturday afternoon as Steven Spielberg’s 1975 blockbuster screens at the Academy Museum’s David Geffen Theater (in 4K), the American Cinematheque’s Aero Theatre (in 35 mm) and Vidiots’ Eagle Theatre.
2:30 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org; 3 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com; 1 and 4:30 p.m. Vidiots Eagle Theater, 4884 Eagle Rock Blvd., Eagle Rock. vidiotsfoundation.org

TUESDAY

National Museum of the Aftermath screening series
Kevin Jerome Everson and Claudrena N. Harolds’ short film “Foosball: U. of Virginia Charlottesville, VA 1976” (2013), inspired by a photograph of two students playing a game, examines Black life at UVA; and Andrea Fraser’s feature documentary “This meeting is being recorded” (2022) gathers a group of a self-identifying white women to discuss unconscious racism and their own roles in white supremacy.
6 p.m. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu

WEDNESDAY

Brian Quijada, left, and Nygel D. Robinson in “Mexodus.”

(Thomas Mundell)

Mexodus
Direct from an award-winning off-Broadway run, this new musical created and performed by Brian Quijada and Nygel D. Robinson illuminates a lesser-known fork of the Underground Railroad, one that branched south across the Rio Grande.
Previews, 8 p.m. Wednesday, 7 p.m. Thursday, 8 p.m. July 10, 2 and 8 p.m. July 11; continues through Aug. 2. Pasadena Playhouse, 39 S. El Molino Ave. pasadenaplayhouse.org

New Swan Shakespeare Festival.

(New Swan Shakespeare Festival)

New Swan Shakespeare Festival
The annual summer-long event, featuring professional theater artists, UC Irvine alums, current graduate and undergraduate drama students and faculty, returns for another repertory season of classics under the stars at its intimate, 130-seat, portable, mini-Elizabethan space. “Romeo & Juliet,” directed by Rachael VanWormer, resets the tragic romance to the American Dust Bowl; “The Merry Wives of Windsor Cove,” adapted by Anna Fitzgerald & Eli Simon, with music by Zachary Dietz and directed by founding Artistic Director Eli Simon, brings the rollicking comedy to a 1950s SoCal surf town, powered by a live skiffle band.
“Romeo & Juliet,” 8 p.m. Tuesday and Thursday, and various dates through Aug. 29. “Merry Wives,” 8 p.m. Wednesday, and various dates through Aug. 30. UC Irvine campus, 4000 Campus Drive. newswanshakespeare.com

Wilkins Conducts Bernstein & Ellington
Thomas Wilkins guides the L.A. Philharmonic in a program of classical Americana featuring selections from Valerie Coleman, William Grant Still, a newly arranged song cycle from Shaina Taub’s Broadway hit “Suffs,” Leonard Bernstein and Duke Ellington.
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

Zoot Suit
Join writer-director Luis Valdez and star Edward James Olmos for a 45th anniversary screening of the film, an adaptation of Valdez’s groundbreaking play, the truly L.A. story of the 1942 Sleepy Lagoon case and Zoot Suit Riots. Audiences are encouraged to come in costume and arrive early for the “Pachuco Boogie!” Produced in partnership with the Los Angeles Latino International Film Festival, Self Help Graphics and Pachuco Car Club.
8 p.m. The Ford Ampitheatre, 2580 Cahuenga Blvd. East. theford.com

THURSDAY

Randal Goosby.

(L.A. Phil)

The Classical World Cup
Tito Muñoz conducts the L.A. Phil in a salute to “the beautiful game” (soccer to Americans) with works spanning the Americas by Alberto Ginastera, Samuel Barber (with Randal Goosby on violin), Silvestre Revueltas and Aaron Copland; plus the world premiere of “The Art of the Goal,” an original mixed-media concept film by director Josh Kahn and composer Adam Schoenberg. Commissioned by the L.A. Phil, the piece blends footage of elite training and match play featuring the Los Angeles Football Club with orchestral music.
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

The SoCal scene

(Matt Chase / For The Times)

Celebrations for the country’s 250th birthday have been muted thus far (at least compared to the bicentennial 50 years ago), but our Entertainment and Arts team noted the moment by examining the ways the artists we cover have interpreted the nation’s complex history. Times theater critic Charles McNulty wrote that a “cohort of playwrights, breathtakingly diverse demographically as well as aesthetically, has been rejuvenating American theater.” Contributor Shana Nys Dambrot looked to local museums and identified nine works of art “exploring and expounding upon, in celebration and critique, what it means and what it feels like to be an American.” Times classical music critic Mark Swed compared the artistic and institutional responses of 2026 to the past, lamenting that “None of this comes close to comparing with the attempted civic zest of 1976.” Check out the rest of the collection of stories and essays, including Mary McNamara’s column reminding us that even in troubled times 250 years is worth celebrating because “the Constitution was written ‘in order to form a more perfect union.’ Not ‘perfect,’ but ‘more perfect.’ As in better,” and a list of 10 essential movies that capture crucible moments in U.S. history; find out what Times pop music critic Mikael Wood calls the “quintessential American song,” and which books are being read in L.A. high schools and which classics remain relevant.

Carene Rose Mekertichyan , left, and Brent Charles in “Coriolanus” at the Griffith Park Free Shakespeare Festival.

(Grettel Cortes)

It’s summer and that means that outdoor theater is upon us and McNulty reviewed the Independent Shakespeare Co.’s Griffith Park Free Shakespeare Festival production of “Coriolanus.” “It’s hard to love ‘Coriolanus,’ but it’s equally hard not to be impressed by its ambition, originality and dramatic rigor,” wrote McNulty. This “production isn’t going to win awards for subtlety, but the storytelling is crisp and vivid. And even those unfamiliar with the tale — the vast majority of attendees, in all likelihood — should find it engrossing.”

It’s hard to believe that the ABBA jukebox musical “Mamma Mia!” premiered 25 years ago. Times staff writer Eloise Rollins-Fife went backstage at the Ahmanson Theatre to visit with the behind-the-scenes crew who put so much joy into the sequin-bedazzled extravaganza on display in the show’s anniversary tour — many of whom worked on the original production and tours.

Katie Simons profiled 99-year-old Sierra Madre resident Monson de Kansky, a onetime top ballerina who went to teach Parisian royalty, raise a family and still teaches ballet.

Hollywood set painters whose work in the Tinseltown dream machine often went overlooked and uncredited are getting their due in “Staging California in Early Hollywood” at the UC Irvine Langson Orange County Museum of Art in Costa Mesa. Times staff writer Julius Miller spoke with museum director Kathryn Kanjo and assistant curator Michaëla Mohrmann about the institution’s first exhibition since UC Irvine acquired OCMA last September and Kanjo’s appointment in December.

Culture news

Rosalie Tucker, executive director of Pieter Performance Space (standing left); Andrew Pearson of Bodies in Play (second from left); Lena Martin (second from right) and Mandolin Burns (right) of Crawlspace; Dani Burd of Indigo Dance Company (bottom left); and Adie San Diego (bottom right).

(Ariana Drehsler/For The Times)

The last few years have been rough for most arts institutions and many L.A. dance spaces have closed. Contributor Steven Vargas reported on how surviving dance companies and artists are forging ahead in the wake of COVID-19 pandemic and diminished funding.

The Centre Theatre Group announced that a world tour of the acclaimed stage adaptation of Hayao Miyazaki’s Academy Award-winning animated film “Spirited Away” will open the Ahmanson Theare’s 2027-28 season. “We are honored to bring the wonder of ‘Spirited Away’ to the Ahmanson Theatre for an exclusive US engagement, offering our community the gift of experiencing one of the most cherished stories of our time, reimagined for the stage in a once-in-a-generation theatrical experience,” said Douglas C. Baker, Center Theatre Group producing director, in a statement. The production, from Toho Co., will open at the National Theater in Taipei on Dec. 16, before continuing on a national tour of Japan from March-August 2027, followed by stops at the Princess of Wales Theatre, Toronto (May-August 2027), and the Ahmanson (September–October 2027). The tour will conclude with a return to the London Coliseum (March-July 2028), where it had its European premiere in 2024 following a sold-out tour of Japan in 2022. Casting will be announced at a later date.

The British theater lost two stalwarts this week. Penelope Keith, best known for the sitcoms “The Good Life,” which aired on PBS in the U.S. as “Good Neighbors,” and “To the Manor Born,” has died at age 86. Keith joined the Royal Shakespeare Co. in 1963, won a BAFTA Award in 1977 for “The Good Life” and continued her stage career into her 80s. The New York Times reported that Michael Byrne, a noted actor of stage and screen, also died this week at 86. Byrne created the role of the suspected torturer Dr. Miranda in the premiere production of Ariel Dorfman’s 1991 play “Death and the Maiden” in London. Other notable theater roles were with Siân Phillips in “Juliet and Her Romeo,” Polonius in “Hamlet,” Cassius in “Julius Caesar” and Prince Hal in “Henry IV.” The actor also appeared in films such as “Force 10 from Navarone,” “Indiana Jones and the Last Crusade,” “Braveheart,” “Gangs of New York” and “Harry Potter and the Deathly Hallows: Part 1.”

— Kevin Crust

And last but not least

If pyrotechnics (or drone shows!) are your thing and you’d like to celebrate the Fourth of July with a bang, Times staff writer Christopher Buchanan compiled 52 places and favorite spots to watch the festivities in Southern California.

WASHINGTON — As America’s 250th birthday arrives this weekend, President Trump’s mark is clearly visible on Washington.

Visitors to the nation’s capital are being met with cranes hanging over the White House and construction at the site of the demolished East Wing. Fences crisscrossing the National Mall to hem in the Great American State Fair have blocked the famed sightline from the U.S. Capitol to the Washington Monument to the Lincoln Memorial.

Some fountains newly sparkle as a result of Trump’s renovations. National Guardsmen patrol the sidewalks. The partisan flavor of the Trump-aligned Freedom 250 organization’s events is on display, and the fireworks show Saturday will feature a rally-style speech from Trump, with fireworks reportedly pushed back to 11 p.m.

President Trump examines the maintenance work Wednesday on the exterior of the White House.

(Alex Wong / Getty Images)

The memorial’s Reflecting Pool, where fireworks will be set off Saturday, was barricaded from the public earlier than usual after onlookers flocked last week to see the algae and peeling paint that followed Trump’s renovation, and Trump accused vandals of tampering with it.

“You don’t have a sense of ‘land of the free’ here,” said Melissa McFarlane, 61, standing along the fencing on the Mall. She said she was born in Silver Spring, Md., and she grew up watching July 4 fireworks on the Mall with her parents.

She recalled the nation’s 200th anniversary celebrations as “open and inviting” but said this year’s “heavy-duty fencing” and the presence of National Guardsmen made it feel different.

“It’s majorly disorganized, which is weird for our country,” McFarlane added.

A sign outside Lafayette Park near the White House.

(Julia Demaree Nikhinson / Associated Press)

Trump has fixated on making changes to the nation’s capital in his second term, declaring in an early executive order that his administration would make the district “safe and beautiful.” Some of the renovations have been successful; fountains are running anew, including the long-dormant cascading water feature at the city’s popular Meridian Hill Park.

Interior Secretary Doug Burgum said Sunday on “Fox & Friends” that more than 50 parks and circles have been restored and 22 fountains, along with repairs to lights on the National Mall.

“President Trump should be thanked for all he is doing to leave things better than he found them for the good of our great nation,” an Interior Department spokesperson said in a statement. “D.C. residents and visitors are experiencing working fountains, clean parks and safe streets across the district for the first time in decades, all thanks to President Donald J. Trump.”

But Trump’s growing slate of projects has drawn legal challenges from preservationist groups and raised questions about the cost to taxpayers. The $14.7-million repainting of the Reflecting Pool became particularly controversial last month after algae overtook the renovated pool and the new paint appeared to peel off.

On Sunday, the president took a tour of some of his construction sites, walking through Lafayette Park with Burgum before traveling to the East Potomac golf club he plans to renovate, which sits on federal land. Trump walked part of the property and inspected blueprints in view of reporters; he was then driven by the site where he wants to erect a marble arch.

Over the weekend, he posted on Truth Social about his improvements to the city in a post about D.C. mayoral candidate Janeese Lewis George, casting it as a “Safe and Prestigious Community” that is now at risk of being “destroyed” by Lewis George.

“I have worked too hard to make Washington, D.C., the Envy of the World, with almost No Crime, and a Beautification process that has been second to none,” Trump wrote.

Construction crews build scaffolding outside the Kennedy Center on June 13 before removing President Trump’s name from the venue’s exterior.

(Tasos Katopodis / Getty Images)

Involvement by presidents in the city’s plan goes back to George Washington, said Matthew J. Bell, an architecture professor at the University of Maryland. That is not unusual, nor is it strange for cities, including Washington, to change over time, he said.

“It’s probably more a matter of timing in terms of inconvenience for people coming for the Fourth,” Bell said of the ongoing construction. “If there had been a more coordinated plan for some of these things … it probably could’ve been managed better.”

At the National Mall, the fencing design for the state fair drew head shakes and confusion from some tourists. Visitors are corralled into a walkway by the Freedom 250-branded fencing on one side and low metal barriers on the other.

It’s normal for fencing to be used to control foot traffic for events on the mall, said Charles A. Birnbaum, chief executive of the Cultural Landscape Foundation, but he perceived the problem as slapdash placement, including of the Ferris wheel, which was put on the mall’s axis.

“Things are being plopped down,” said Birnbaum, whose organization sued the administration over the repainting of the Reflecting Pool. “It speaks to what Trump is doing at the ballroom, what he’s proposed [with] the arch — he’s just plopping these things down in major view sheds that have major historical and cultural significance.”

People walk past the Ferris wheel at the Great American State Fair on the National Mall.

(Jen Golbeck / Associated Press)

The fountains in Lafayette Park are running again near the White House on June 23.

(Andrew Harnik / Getty Images)

The state fair itself has drawn relatively few crowds, though some attendees have been enthusiastic.

On Monday, McFarlane and two friends were outside the fencing, leaning against the metal barriers in front of the Department of Agriculture, which faces the National Mall.

“It’s a little too secure,” said one of them, John, 60, who was visiting from Burbank and declined to give his last name.

He gestured over the barrier to a manicured plot with shady benches. “Here’s the People’s Garden,” he said, reading its sign, “and we can’t go in.”

A construction crane works on the White House ballroom on Monday.

(Julia Demaree Nikhinson / Associated Press)

Visitors take photos Tuesday of a model of President Trump’s proposed marble arch at the Great American State Fair on the National Mall.

(Mark Schiefelbein / Associated Press)

Early-morning joggers observer the refilling of the Lincoln Memorial Reflecting Pool on June 5.

(John McDonnell / Associated Press)

The anniversary celebrations also come on the heels of the reflecting pool controversy. Last week, after chunks of paint were spotted in the water, Trump blamed vandals for tampering with the pool and said people had been arrested at the site. Two dead ducks were found in a pond about 250 feet away from the pool.

The area last week was surrounded by surveillance cameras and patrolled by National Guardsmen as lifelong resident John Cates strolled the area.

“It’s kind of creepy,” Cates said about the security cameras mounted around the pool. “It is unnecessary that we have to have this pond deemed a high security risk. That is weird.”

The area was fenced off at the end of last week. Fencing normally occurs in preparation for the July 4 fireworks show, but it went up “a couple days early to protect the pool,” Burgum said in the Fox News interview. He said seven people had been arrested in connection with the pool.

Tom Ayers, 34, was disappointed to find the fences already up on Monday. He traveled with his father from Wisconsin for the 250th, but they were finding it difficult to get around the Mall and they were upset to see the East Wing gone.

When they reached Lafayette Park, where the fencing had yet to be removed, they were again disappointed by the obscured view of the White House. Ayers’ father recalled a different scene in 1976, when he visited as a child for the nation’s bicentennial.

“I was kind of hoping for a summer similar to that,” Ayers said, “but overall, it seems nowhere close.”

Times staff writer Ana Ceballos in Washington contributed to this report.

Sacramento — New spending on school construction tends to be reliably popular when proposed in California ballot measures.

According to the League of California Cities, voters approve about 80% of bond measures for local school districts — even though state rules require 55% support on a measure for it to pass. The last four statewide school bond measures were approved by voters. And nearly 6 out of 10 likely voters back the idea of a new school bond on the ballot, according to an October poll by the Public Policy Institute of California.

Yet Proposition 51, the $9-billion school bond measure on next week’s ballot, is struggling, according to PPIC polls from the last two months. In both polls, Proposition 51 stood below majority support, and such numbers put the measure at risk of a rare failure, said Mark Baldassare, PPIC’s president and CEO.

“It’s not where we would expect it would be,” Baldassare said.

Beyond the general popularity of schools, Proposition 51 has many of the advantages that come alongside successful campaigns.

The state Democratic and Republican parties, business and labor groups and Lt. Gov. Gavin Newsom and other major politicians are part of a broad coalition in favor. Those supporters, primarily developers, contractors and others who regularly promote school facility construction, have raised $12 million for the campaign, compared with nothing for opponents.

And schools across the state need more money. Schools should be spending between $4 billion and $8 billion a year on building replacement and upgrades, according to the nonpartisan Legislative Analyst’s Office, and the state pot of money to pay for these fixes has run dry.

Still, there are plenty of explanations for Proposition 51’s troubles. Most notably, unlike the past, support isn’t universal among major interests. Lawmakers put the four previous statewide school bonds on the ballot themselves. This time, after negotiations with Gov. Jerry Brown and legislators failed, backers gathered signatures for an initiative. Brown hasn’t spent much time campaigning against Proposition 51, but when asked, he’s criticized it as too large and inefficient.

“This has been a funding area that has had very strong bipartisan support for decades,” said Jeff Vincent, deputy director of UC Berkeley’s Center for Cities + Schools. “We are now at a place in California where that is not the case.”

Brown and others have questioned how state school bond money gets spent. They argue that the program unfairly benefits larger, more affluent districts. The cash is available to local districts that already have funding to match the state dollars and is distributed on a first-come, first-served basis.

Last month, outgoing state Sen. Loni Hancock (D-Berkeley) urged her Facebook followers to vote against Proposition 51, saying that voters should hold out for a better measure sponsored by the Legislature in coming years. Hancock served on the board that hands out the bond money and, in an interview, described the spending process as overly complex and cumbersome. She said she had to fight those rules to get a school in her district funds for earthquake safety.

“I think we can do a better bond with more money going in a simple, direct way for our schools,” Hancock said.

PPIC’s polls show similar drops across voters of all income and education levels and ethnicities when asked about Proposition 51 compared with the generic school bond measure. Proposition 51’s official summary, which appears on voters’ ballots, states that the measure will raise $9 billion and cost $17.6 billion to pay off over 35 years. Those big numbers could be keeping Proposition 51’s polling low, Baldassare said.

“I would have to think it has something to do with the size of the bond and the impact on the budget,” he said.

Erin Shaw, spokeswoman for the Yes on 51 campaign, said aspects of the PPIC polls look good for her side. The October poll has the measure leading — 46% to 41% — and there are plenty of undecided voters.

Shaw said the campaign expects the results could track with previous state school bond measures, the lowest of which passed with just 50.9% of the vote in 2004.

“We have had a strong campaign in which we have been able to garner a significant amount of broad and bipartisan support for the measure,” Shaw said.

She noted that local districts have bond measures of their own on ballots — 184 of them that aim to raise $25 billion statewide — and believed voters ultimately will link their desire to repair their local schools with money from the state.

liam.dillon@latimes.com

Follow me at @dillonliam on Twitter

ALSO

What you need to know about the $9-billion school bond on the ballot

Gov. Jerry Brown opposes $9-billion school bond measure

School bonds used to be as controversial as mom and apple pie. Not anymore under Gov. Jerry Brown

Updates on California politics

Fans can’t get enough of the series even after watching multiple times

Fans claim that the prequel series is even better than the movie it is based on.

An ‘absolutely genius’ show that has just been added to Netflix has been labelled as the ‘funniest show ever’. Containing eight episodes in total viewers should be able to binge watch the title in record time.

The first season of Ted is now available on the platform as of today (July 1). It serves as a prequel for the film of the same name written and directed by Family Guy creator Seth McFarlane.

McFarlane returns to voice the titular character Ted as well as serving as one of the show’s writers. He also directs every episode of the show.

According to its synopsis, the comedic prequel event series to the films begins in 1993. Ted the bear’s moment of fame has passed.

He’s now living back home in Framingham, Massachusetts with his best friend, 16-year-old John Bennett, along with John’s parents, Matty and Susan and cousin Blaire. Ted may be a lousy influence on John, but at the end of the day, he’s a loyal pal who’s always willing to go out on a limb for friendship.

MaxBurkholder takes over the role of John, which was previously played by Mark Wahlberg in the films. Meanwhile, Euphoria’s Alanna Ubach plays John’s mother and The Punisher’s Giorgia Whigham plays his cousin.

Scott Grimes, who has appeared in multiple MacFarlane projects including American Dad, The Orville plays John’s dad.

A second season released earlier this year but the future of the show is up in the air. McFarlane has said there aren’t any plans for a third season saying its production costs might be too high, although he’s also hinted there could be a film in the future with the series cast.

For now Netflix users can enjoy all episodes of the first season. The second is currently only available via Sky or NOW streaming platform.

Fans are full of praise for the series that boasts a rating of 87% on Rotten Tomatoes, which is higher than the original film. One person labelled it a “hilarious masterpiece.”

They added: “The CGI for the bear is insanely good, you almost forget he isn’t real. Seth MacFarlane does an incredible job bringing Ted to life, and the chemistry between the entire cast makes the show feel effortless. The cast bounce off the absurdity perfectly, and the dialogue never stops being funny. It’s one of those comedies that’s just pure fun to watch from start to finish.”

Someone else claimed they still love it just as much after multiple watches. They said: “I’ve watched Ted at least 10 times, and it still makes me laugh every single time. The jokes are sharp, the timing is perfect, and the cast is just amazing. it’s absurd, honest, and perfectly delivered. Shows like this don’t come around often, and it’s my ultimate rewatchable series.”

While one person posted: “It’s absurd, a little bit chaotic, and somehow still incredibly charming, much like the bear himself. The show cleverly balances raunchy humour with an oddly heartfelt coming-of-age story, proving that even a foul-mouthed, beer-loving teddy bear can provide surprisingly good life advice—albeit sandwiched between jokes that would make your grandmother faint.”

The go on to say: “Seth MacFarlane’s voice work is as sharp as ever, delivering laugh-out-loud moments with the kind of deadpan brilliance usually reserved for grumpy old men at the pub. In the end, Ted Season 1 is exactly what you’d expect: hilarious, ridiculous, and strangely heartwarming.”

Others warned that as soon as you watch one episode, you will quickly find yourself breezing through the whole series. They said: “Seth is a comedy genius and this project is no different after putting it on with the intention of watching one at 12.30am at night I binge watched it and was left wanting more.”

Ted is streaming on Netflix and NOW

LONDON — Penelope Keith, a comic performer who shone as flinty but lovable upper-crust characters in British sitcoms “The Good Life,” which aired on PBS in the U.S. as “Good Neighbors,” and “To the Manor Born,” has died aged 86.

Keith’s family said Monday that she had been diagnosed with cancer and died at her home in Surrey, near London.

Keith began her acting career onstage and joined the Royal Shakespeare Company in 1963. But she found her greatest fame on television.

She won a BAFTA Award in 1977 for “The Good Life,” playing Margo Leadbetter, a snobbish suburbanite appalled by her back-to-the-land neighbors Tom and Barbara Good, played by Richard Briers and Felicity Kendal.

Kendal called Keith a “comic genius.”

“She was a joy to know and work with, and she will be much missed,” Kendal said.

Keith displayed a similar mix of imperiousness and deadpan wit in “To the Manor Born,” broadcast between 1979 and 1981 and brought back for a 2007 Christmas special. Keith played cash-strapped aristocratic widow Audrey fforbes-Hamilton, forced to sell her country estate to a nouveau millionaire, played by Peter Bowles, with whom she has a love-hate relationship.

Keith’s velvet tones featured on children’s show “Teletubbies” as the voice of the Bear With Brown Fuzzy Hair and in ads for everything from Pimm’s to Parker Pens. She also presented cozy documentary TV series, including “Penelope Keith’s Hidden Villages.”

Keith continued to perform in stage roles into her 80s. Theaters in London’s West End will dim their lights Wednesday evening in tribute to her.

In 2014 she was made a dame, the female equivalent of a knight, for services to the arts and to charity.

She is survived by her husband, Rodney Timson, and their two sons.

June 30 (UPI) — This year’s July 4 fireworks display in Washington, D.C.,will be the largest ever held there, organizers said Tuesday.

The pyrotechnics on the National Mall will also start later as the capital marks the nation’s 250th anniversary.

Jeff Carroll, interim chief of the D.C. Metropolitan Police Department, said the holiday will have “the largest display of fireworks our city has ever seen,” CBS News reported.

A representative for Freedom 250, the public-private partnership established by the Trump administration for the anniversary, said the fireworks will not begin until 10:30 p.m. and may start as late as 11 p.m., The Washington Post reported. Usually, the fireworks display starts about 9:30 p.m. However, Trump has said that he’ll speak at 9 p.m., calling the event “a rally.”

While the fireworks are usually about 17 to 25 minutes long, they are expected to be about 40 minutes long Saturday, The Post said. The event is also expected to include hours of military flyovers earlier in the day.

The event also has new rules banning attendees from bringing coolers, chairs, bags and more than one bottle of water. Tara McLeese, special agent in charge of the Secret Service’s Washington field office, said those who plan to watch the fireworks from the Washington Monument grounds should expect “TSA-style” security, CBS News reported.

As of Tuesday, the predicted high for Saturday in Washington, D.C., is 101 degrees, according to The Weather Channel. Record-breaking heat is expected to affect much of the United States this week.

A Freedom 250 representative said there will be four free hydration stations at the event and that organizers were “closely monitoring conditions.”

Stephen Vitale, CEO of Pyrotecnico, the company putting on the 2026 fireworks show, said it plans to set off more than 850,000 fireworks from 10 locations around the area, The Post reported. Vitale said the typical July 4 show over the National Mall has about 20,000 fireworks.

“Size always helps, but it’s about the beauty and the memories that people will have for generations,” Vitale said. “Fireworks are magical to people, and we help people walk away believing that’s the best fireworks display that they have seen or ever will see.”

Officials at Ronald Reagan Washington National Airport said July 17 that it is expected to be closed July 4, with no scheduled flights toor from the airport after noon. They cited the flyovers and other aerial displays.

Here we go again: Twenty-five years after “Mamma Mia!” premiered on Broadway, the national tour returns to Los Angeles at the Ahmanson Theatre with show-stopping set pieces and a crew that knows the show inside and out.

The beloved jukebox musical, which chronicles a Greek wedding with three potential fathers of the bride, has taken over the Ahmanson through July 19 as part of its 25th anniversary tour, and audience members should expect a full-on ABBA sing-along dance party.

“People come dressed up,” said associate choreographer Janet Rothermel. “There’s a lot of boas, and there’s a lot of spandex, and platform shoes.”

Rothermel is one of many people on the creative team who have worked on the show since its original Broadway run in 2001. Associate director Martha Banta and associate music supervisor David Holcenberg have also seen the musical through its nearly 14-year original Broadway run, national tours and numerous international iterations (Holcenberg was its original music director).

“When we were all back together again in rehearsal, it was an extraordinary feeling,” Banta said. “Not with the same cast, but Janet, David and I and others that have done it for years. With everything that’s been going on in the world in the last three years, it was just a soothing thing to do.”

“We’ve just been embraced beyond what we were used to, which was pretty great,” she added.

Everyone involved in the production echoed a similar sentiment: that the “ultimate feel-good musical” is exactly what audiences want to see during painful or overwhelming times. The show’s traveling costume supervisor and associate designer Eva Maciek put it most bluntly: “I love working on it because nobody dies.”

Rehearsals for the original Broadway run coincided with the Sept. 11 terrorist attacks, Holcenberg explained, and he was struck by audience members’ emotional responses to the first shows.

“I’d have people coming down to the pit after the show with tears streaming down their faces saying, ‘Thank you for letting us forget the world for a couple hours and just have joy,’” he said. “Because this show is joy. It’s full of joy.”

Beyond the absurdly catchy music and the rom-com story, part of the show’s joyfulness comes from its colorful costumes and beachy aesthetic. The onstage set is relatively sparse, consisting only of a pair of rotating “taverna” walls, but backstage, hundreds of moving parts, including stage mechanics, hand props and costume changes, propel the story forward and keep the production looking effortlessly glamorous.

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Blingy microphones backstage for the “Mamma Mia!” production at the Ahmanson Theatre in downtown Los Angeles.  (Christina House / Los Angeles Times)

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Eva Maciek, the travel costume supervisor of the show, shares some wardrobe pieces backstage.  (Christina House / Los Angeles Times)

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Ryan Sander, assistant choreographer, left, and Eva Maciek, travel costume supervisor of the show, show off Sander’s “Voulez-Vous” costume.  (Christina House / Los Angeles Times)

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Life jackets backstage for a musical number.  (Christina House / Los Angeles Times)

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Shelves full of hats are seen during a backstage tour.  (Christina House / Los Angeles Times)

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The show‘s stage is seen during a backstage tour of the “Mamma Mia!” theater production at the Ahmanson Theatre.  (Christina House / Los Angeles Times)

The obvious choice for coolest costumes, according to Maciek, are the bejeweled jumpsuits worn by titular mamma Donna Sheridan (played by Jessica Crouch) and her Dynamos, Tanya (Jalynn Steele) and Rosie (Carly Sakolove). Each one has hundreds of glittering silver stars attached.

“I’m glad I’m not the one who had to sew them on originally!” Maciek joked. The costumes all originated in London or New York, but they’ve been traveling from city to city in storage “gondolas” since the current tour started in 2023, requiring constant repairs and touch-ups from local stitchers.

Thematically, Maciek said, the costumes’ evolving colors tell their own story throughout the show.

“When everybody arrives at the island, they’re all in beige with a little hint of blue,” she explained. More blue gets added by “Voulez Vous,” and then they transition into jewel tones. “When you get into the wedding scene, everybody is in pinks, soft reds, oranges and yellows,” Maciek said. “So there’s a real color story that goes throughout.”

Ryan Sander, the show’s assistant choreographer, dance captain and current “swing” (an actor covering multiple ensemble roles), has a special relationship to his “Voulez-Vous” costume. He originally wore it as a performer on the national tour more than 20 years ago, and when he was called to come back onstage, he found that it still fit like a glove. The costume, a denim vest and pants set with extremely Y2K lace-up details, is representative of the show’s approach to fashion trends.

“There is something timeless about these pieces that’s just so interesting,” he said. “It is a period piece and we stick to that, but there is something timeless about the costumes.”

Besides the costume racks, another crucial backstage element are the vocal booths, where the ensemble contributes to the musical soundscape from behind the curtain.

“One of the main things about the ‘ABBA sound’ is how they layered the vocals, and we do that all live in our show,” Holcenberg said. “The ensemble works really, really hard, because when they’re not on stage, they don’t get any time off. They’re just singing their little faces off.”

Even though the show has been running for decades, the creative team said each cast brings a new energy and tone.

“Our new Donna, Jess, brings a real rock chick energy to it,” Holcenberg said. “Even though the notes on the page stay the same, the casting and the way they perform it still changes from person to person and night to night.”

According to stage manager Andrew Volzer, the most “unique” aspects of the show are its long history with a tight crew and its multigenerational appeal — “Not only from the audience perspective, but also for the people working on the show. People are always coming and going,” he said.

“We always say, you never leave the island.”

Another former bombshell has apologized for past use of a racist slur that got her ousted from the villa.

Fired “Love Island USA” contestant Alannah Keyser posted a video to TikTok on Saturday addressing a past video that showed her using the N-word as she sang along to the Roddy Ricch song “The Box.” On Friday, Peacock confirmed to The Times that Keyser had been dismissed from the hit reality dating show after the resurfaced video began circulating online.

“I do want to begin by addressing the video of me singing along to a Roddy Ricch song that contains a racial slur,” Keyser says in her video. “I’m sorry to whoever has seen that video and has been offended by it; that was never my intention. The video is from six years ago, and that word is just not in my vocabulary anymore.”

A USC film student from Miami, Keyser also addressed some of the other social media chatter about her that had been making the rounds prior to her dismissal. Included were accusations of racism due to screenshots of her alleged use of the racist slur on Snapchat and Instagram as well as observations that alleged she had interacted less with Black men on the show.

She said those screenshots had been “falsified.”

“What has been shared does not reflect the truth, and it’s never been in my character to discriminate against anybody’s skin color,” Keyser said. “I do want to say directly that I do not support racism or discrimination of any kind, and I never have.

“When I first found out that these things were going around online, it really broke my heart, and I couldn’t do anything about it. But this has definitely been a learning lesson for me, and it sucks that I didn’t get a chance to really show my personality and who I am,” she added.

In the caption of her TikTok video, Keyser wrote that “reality tv is HEAVILY edited & [her] chats/kisses with the other boys were unfortunately not aired.”

Keyser was the second “Love Island USA” contestant who was dismissed from the show this season after video of them using the N-word surfaced on social media. Earlier this month, Peacock axed Oregon-based beauty technician Vasana Montgomery just days after it announced its slate of Islanders for the show’s eighth season. She has since apologized, saying, “There is no excuse” for her use of the slur.

Last year, contestants Cierra Ortega and Yulissa Escobar were dismissed from the show for their use of racist slurs. Ortega had been caught repeatedly using a derogatory slur for Chinese people (and Asian people in general) on social media, while Escobar had used the N-word in a couple of podcasts. Both have since apologized.

It’s no joke: John Oliver of HBO’s “Last Week Tonight” is checking into “General Hospital,” the ABC soap opera.

The host of the weekly series that takes sharply comedic aim at government and institutions announced during his June 28 episode that he will appear on the daytime soap “General Hospital” on July 2, 3 and 6. No details about his role were revealed except that it will be a “substantial guest role.”

And that’s not the only soap he’ll be in this summer. He will also have a role on “Days of Our Lives,” streaming on Peacock, on Aug. 11, 12 and 14.

The appearances are the culmination of Oliver’s pleas to soap opera producers during the March 8 installment of his show that they consider him for a part. An unapologetic devotee of the outrageous antics and high melodrama which characterize the genre, Oliver said, “Write me a role and I will be on your set so fast it will make your head swim.”

In a statement, Oliver celebrated the realization of his dream: “‘General Hospital’ was everything I hoped it would be. It’s a true honor to be a small stain on the history of this illustrious show.”

The series’ executive producer Frank Valentini said in a separate statement that Oliver made an offer they could not refuse.

“When John Oliver publicly threw down the gauntlet and said he wanted to appear on a soap, we didn’t hesitate for a second,” he said. “He was everything you’d hope he’d be: prepared, professional, funny, and genuinely kind to everyone on set. He plays an integral character in the story, and I can’t wait for fans to see who he crosses paths within Port Charles.”

“General Hospital,” which airs weekdays on ABC and streams on Hulu, is in its 64th year and stands as the longest-running American soap opera currently in production.

On the March 8 episode, Oliver said he was jealous of celebrities such as Katy Perry, Snoop Dogg and Smokey Robinson who would pop up on various soaps. He was particularly envious of sports pundit Stephen A. Smith who has had a recurring role on “General Hospital,” playing a shady figure known only as “Brick.”

Oliver made it clear that he was not interested in a brief walk-on playing himself. He wanted to play a character, and have a “juicy role” that involved murder or “slapping.” He also required that there be a close-up of his face.

We made it. With just days left in Phase I voting, this week marks the last issue of The Envelope, and the last edition of this letter from the editor, until we return with a crop of newly minted Emmy nominees in August.

Until then, may you have a summer as magical as a German soccer fan’s road trip through the American South — and enjoy reading the below highlights from our coverage.

Cover story: ‘Industry’

(Jason Armond / Los Angeles Times)

How do “Industry” stars Myha’la and Marisa Abela want the series to end? Let’s just say they are as unsentimental about their characters as series creators Mickey Down and Konrad Kay.

“I want there to be a huge statue of Harper Stern in front of J.P. Morgan,” Myha’la says of her hard-charging trader. “And a bird s— on her arm.”

“In her mouth,” interjects Abela, who plays Harper’s No. 1 frenemy Yasmin Kara-Hanani.

After the laughter ringing through the room subsides, though, Abela does allow for a moment of reverence — for the HBO drama if not for the disreputable people who populate it. “I don’t know if I need Yasmin to be happy at the end of it,” the actor says, reflecting on her character’s emergence as a Ghislaine Maxwell type in the Season 4 finale. “I know I want it to feel worthy of everything that has come before… What I love about the show is that [the writers] don’t often backtrack. You commit to something and then you have to live with the f— fallout. Which is savage.”

Read more of our conversation in this week’s cover story.

Writers Roundtable

(Christina House / Los Angeles Times)

Though he joined The Envelope’s 2026 Emmy Writers Roundtable to discuss the return of another beloved comedy, “The Comeback,” we couldn’t resist asking Michael Patrick King about the intense fan reactions to his “Sex and the City” revival “And Just Like That…”

“What happened was, it was really well made, but it wasn’t their Carrie,” he said. “Even though you stand behind it, you go, ‘Wow, that’s a surprise. I thought that they would be interested in 57-year-old women who still hadn’t figured everything out. And instead they wanted them to be 35 and still allowed to be lost.’”

For more juicy tidbits from the minds of of TV’s top writers, be sure to check out the full conversation, which also included Megan Gallagher (“All Her Fault”), Jonathan Glatzer (“The Audacity”), Andrew Guest (“Wonder Man”), Bruce Miller (“The Testaments”) and Sonja Warfield (“The Gilded Age”).

How Connor Hines won over Ryan Murphy

Writer Connor Hines, who translated the real-life relationship between JFK Jr. and Carolyn Bessette into FX’s major hit “Love Story.”

(Evan Mulling / For The Times)

While our On Writing series of screenwriter essays are always revealing — about the inspiration behind a series, the process of adaptation or the making of a major plot turn, to name just a few — I don’t remember one as candid about the art of the pitch as Connor Hines’. In this week’s issue, the writer behind “Love Story: John F. Kennedy Jr. and Carolyn Bessette” explains how he prepared to present his vision for the new anthology’s first season to one of TV’s most powerful producers, Ryan Murphy. As it turns out, landing the meeting is not the (only) hard part.

“I spent roughly three months in the trenches with [producers] Brad [Simpson] and Nina [Jacobson], deepening and refining my presentation [to Murphy] — one that I’d recite in the shower, on runs, at Trader Joe’s, while I drove,” Hines writes. “It was a crash course in storytelling, producing, and understanding the alchemy that propelled so many of Ryan’s shows into the zeitgeist.”

More stories from our June 16 issue

LEE Andrews’ ex Alana Percival has signed up to a brand new dating show hosted by a shamed Celebs Go Dating star.

The wellbeing and fitness coach used to date self-styled businessman Lee, 43, before he swept Katie Price off of her feet in a whirlwind romance.

Lee even popped the question to Alana in September 2025, in the exact same way as he proposed to Katie this January, with rose petals and bath robes a-plenty.

Alana has remained in the spotlight to slam her “lying” ex and express her fears for Katie, 48 – but it’s not put her off trying to find love again.

We can report how she has signed up for controversial broadcaster Nadia Essex‘s LoveTok – a social media dating show where members of the public apply to date a famous face via TikTok.

Alana will join Love Island alum Jack Fincham on the series and took to Instagram to reveal her new telly role.

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She said: “I am joining LoveTok because I have spent some time healing.

“I went over to Thailand for a little while, I’ve healed and as we could say, I’ve found myself”.

Uploading the news to her Instagram page, Nadia gushed: “I am Sooooooo excited for you to see her and get to know her for her.

“Away from the drama and the toxic ex I can’t wait for you all to see that Alana is an incredible woman who is ready to find love she deserves.

“I take my job of holding her heart really seriously so I will do my best not to let her down.

“Alana’s week launches on Monday July 6th so tune in at 8:30pm to watch me matchmake her with real people in real live stream dates.

“@lovetokuk launches officially this Monday at 8:30pm so tune in then”.

Nadia’s new venture came after she was axed from CGD in 2018 after being exposed as a Twitter, now X, troll.

Who is Katie Price’s husband Lee Andrews?

KATIE Price tied the knot with Lee Andrews in January 2026. Yet who is he?

• Katie Price has married businessman fiancé Lee Andrews in a whirlwind wedding
• It is the fourth time Katie, 47, has been a bride. She has also been married to Peter Andre, Alex Reid and Kieran Hayler
• Katie and Lee met just after being introduced on social media
• Lee claimed he is a billionaire in a failed clip from his acting career
• He now claims to be a Dubai-based businessman
• Yet The Sun has unmasked him as a fantasist who faked celebrity links using AI-generated photos and recently talked about marrying two other women
• Failed actor is just another title to add to Lee’s questionable CV, after he claimed to have once worked as the Director of Philanthropy at The Prince’s Trust (now The King’s Trust)
• Lee also shared images – since proven to be AI – of him working with Elon Musk and Kim Kardashian
• It’s been revealed shameless Lee told former girlfriends that he had studied at Cambridge University, and has a PhD in biotechnology science
• But The Sun has seen a response from the university explaining it could not find a record of Lee being registered as a student with a date of birth they had provided
• His LinkedIn profile says Lee has been a Member of the Board of Advisors to the Labour Party since 2015
• Lee was also mocked for repeating the exact same wedding proposal on Katie – that he did for another woman just four months ago.

Nadia had starred on the E4 show since its launch in 2016 – appearing alongside former co-host Eden Blackman until he quit the series over their ongoing feud.

After she was found to be misusing social media, a TV source said at the time: “Nadia has been suspended from the show until further notice and won’t be appearing on the rest of the series.

“Bosses have made the decision following an investigation into Nadia’s use of social media.

“She was found to be setting up fake accounts to troll certain users – which is something that won’t be tolerated.”

Meanwhile, Lee’s former relationship with Alana has been under the radar of late.

Lee connected with Alana on Facebook in March last year and she explained how he “love bombed” her with cash transfers, Louis Vuitton bags and Cartier jewellery.

Speaking about Katie to The Sun earlier this year, Alana expressed: “I just worry for her welfare.

“I worry he’ll maybe end up getting her arrested or a flight ban. He obviously has no remorse toward anyone.”

In her exclusive interview, Alana added: “Katie should run for the hills. Lee is a liar, a narcissist and I think he’s a manipulator. 

“Once I tried to leave him, he told me had a heart condition and was living on borrowed time. 

“Lee doesn’t know what’s fact and what’s fiction. 

“It’s worrying because I think he believes his own lies.” 

Also in the exclusive chat, Alana said Lee showered her with gifts, and she recognises the significance of Katie and Andrews’ matching 11:11 handtattoos.

RYLAN has apologised after being forced to pull out of his BBC Radio Two show.

The 37-year-old was due to be on air today, but failed to make it home from Nice, France.

The radio host had to be replaced at the eleventh hour after being stranded abroad.

Calling into Emma Willis‘ show to explain his predicament, Rylan said: “I decided to go away with my partner and a couple of my friends to Nice for a few days and just enjoy the sun.

“I didn’t have work this week, I’d managed to clear my diary and I was like, that’s amazing.

“I was flying back very early this morning, so I went to the airport and it was like, ‘no’.

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“I was like, “sorry?’

“At one point I was going to get on an eight-hour train, which still would have made me late for work, but would have got me home today.

“In the end I thought, ‘you know what, you’ve done well for yourself, I’m just going to stay another day’.

“What can I do? I’m not going to be able to make the show today so I thought I can either really stress myself out about this and sweat my foundation off my forehead or I’m just going to have to swallow it and deal with it and go, ‘what a shame, there’s worse places to be’.”

Rylan was replaced by Mark Goodier, with a BBC rep confirming on social media: “Rylan got stranded somewhere Nice…”

Rylan replied in the comments, writing: “So unprofessional.”

He also went on his Instagram, telling fans: “Soz about today’s show.

“I blame everyone but myself.

“Genuinely had it all sussed out and then flights all cancelled.

“Thanks Mark for stepping in you legend. Gonna have a rosé and think of you all.”

Mark stepped up to the hotseat for Rylan to host the film and TV quiz Couch Potatoes and discovered how listeners’ holiday dilemmas turned into a feel-good success story.

Rylan will be back next week to host his three-hour show Rylan On Saturday which airs weekly at 3pm.

AN iconic British singer is set to perform at the World Cup Final’s halftime show.

The musician, 52, has been booked to sing ahead of the game on the pitch at the MetLife Stadium in New Jersey, on Sunday, July 19.

Robbie Williams will belt out his FIFA football anthem Desire with Italian pop star Laura Pausini, 52.

Robbie’s appearance will precede the World Cup Final Halftime Show, curated by Coldplay singer Chris Martin, featuring Madonna, Shakira and K-pop giants BTS.

A source said: “Robbie loves football and is excited to play at this momentous gig.

“Of course, he hopes England will be one of the teams in the final.”

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Earlier this month Noel Gallagher revealed he wasn’t too impressed with the line-up so far.

Asked on Talksport for his thoughts about performers booked he said: “I don’t like the razzmatazz of football.

“It’s been functioning perfectly for hundreds of years.

“They’re not really football people who are performing anyway, are they?”

Robbie began his music career in 1990 at the tender of of 16 years old.

The teen joined the hugely successful group Take That before dabbling in releasing solo music five years later.

Videos show Israeli settlers, protected by Israeli soldiers, trying to seize a house under construction on the outskirts of the town of Qabalan, just south of Nablus, in the occupied West Bank.

Love Island viewers missing the ITV series this Saturday should tune into this other hit show

Love Island has once again vanished from our telly schedules, but we’ve got just the programme to fill the void in its absence.

ITV viewers will be aware that the reality series broadcasts fresh episodes every Sunday through to Friday, with a blooper-style edition appearing on our screens each Saturday.

While the Unseen Bits episode has become increasingly popular over the years, it doesn’t always deliver the same dramatic impact as the main programme. So those craving a new fix of reality TV drama might well be searching for an alternative.

They’re in luck because Are You The One? is presently available to stream on Paramount Plus.

Branded as ‘unhinged’ by audiences, the dating programme first launched on MTV in 2014, before transferring to streaming platform Paramount in 2023, reports OK!.

Audiences follow a group of men and women who have been secretly paired with their ‘perfect partner’ by a matchmaking algorithm. They are then placed under one roof and must attempt to discover their other half.

If the participants successfully identify all of the perfect couples, they secure a prize fund of up to $1 million. The contestants are free to pursue any romantic connections within the house, much like in Love Island.

However, they have the distinctive option to consult the ‘Truth Booth’ to confirm if they are genuinely a match.

While the American series falls into the same category as Love Island, some audiences believe it compels contestants to genuinely pursue authentic romantic connections rather than coasting in friendship pairings until the finale.

Heading to Reddit, one enthusiastic viewer shared their thoughts: “I just watched the two seasons on Netflix and it’s what I always wanted Love Island to be. People actually mixing, doing things, partying,… Instead of policing people if they dare talk to a person, they’ve been ‘coupled up with’ for a day.”

They went on to say: “I think LI need to look at shows like that and apply some things. Give them incentive to not just pick a person at the start and then chill for weeks.”

Viewers have also posted glowing write-ups, with one social media user writing: “I love drama and cat fights so if you love to entertained I would watch it. Couples being broken up and people getting jealous it’s so interesting.”

Another enthusiastic fan declared: “Just binge watched season 1 of [Are You The One]!!!! ABSOLUTELY LOVE IT! HOW IS THIS SHOW NOT MORE POPULAR!?”

Are You The One? is streaming now on Paramount Plus

How well do you remember your U.S. history class from high school or college? Did some of the key moments in America’s 250 years of existence involve Larry David playing a founding father? OK, maybe not, but it’s fun to imagine what that would be like. And that’s precisely what David and Jeff Schaffer have done with their new HBO series “Life, Larry and the Pursuit of Unhappiness.”

The series, premiering Friday, is a timely look at some of America’s big moments in history with a comedic twist that will remind viewers of “Curb Your Enthusiasm,” partly because it also features some cast members from the show. The series arrives on the cusp of the 250th anniversary of America’s founding, and offers an alternative history that’s still steeped in facts. Schaffer stopped by Guest Spot to talk about creating the series with David and what it was like to work with former President Obama.

Speaking of laughter, if you like yours with a whole lot of drama, FX dropped the final season of “The Bear” Thursday on Hulu. The series, which premiered in 2022 and made phrases like “cousin,” “yes, chef,” and “every second counts” memorable, ties up a lot of strings for its crew of chefs. Jeremy Allen White and Ayo Edebiri, the actors who were at the center of the show for five seasons, spoke to us about “The Bear” coming to a close, where their characters end up and what it feels like to leave them behind (be forewarned, the interview has lots of spoilers).

The finale feels like a fitting end to one of the best shows of the past decade (so far) — but we won’t say much more. Enjoy each episode like a multi-course meal at a fine-dining restaurant. You’ll want to savor each bite before it’s over.

Also in this week’s Screen Gab, our writers recommend an animated series with monsters and mystery and a documentary about one of America’s greatest bands. I’ll get my flags, fireworks and BBQ supplies ready in the meantime. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Bobby and Romy in Disney+’s “The Doomies.”

(Disney)

“The Doomies” (Disney+)

If you’re missing “Widow’s Bay,” and like cartoons, here’s another tale of monsters loose in a coastal tourist town, with the difference that the town, called “Ouimpre,” is decidedly on the Atlantic coast of northwest France. (It’s a Franglais pun.) There are half-timbered buildings; what used to be a Camembert factory after it was a beret factory; a cafe that serves crepes, not pancakes; and boulangeries, not bakeries. (It’s a French production; Disney encouraged animator Andrés Fernandez to go local.) As in “Stranger Things,” which no one may be missing by now, the protagonists are kids — Romy, who is excitable and impulsive, and Bobby, who is neither — abetted by a formidable female teenage demon slayer and a lighthouse keeper with occult knowledge. The series is energetic, funny and character-driven — even the monsters. The action is well-staged and intense, the color palette moody and evocative, and the design not at all reminiscent of a hundred other cartoons, which makes the show refreshing as well as fun. — Robert Lloyd

Earth, Wind & Fire in HBO’s “Earth, Wind & Fire (To Be Celestial vs. That’s The Weight Of The World)”

(Jeffrey Mayer / HBO)

“Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World)” (HBO Max)

Even if you think you don’t know Earth, Wind & Fire, chances are they’ve soundtracked a wedding, bar mitzvah, awkward office party or some other memorable celebration in your life. Somewhere between “Shining Star,” “Let’s Groove” and “September,” the band mastered the art of coaxing three or four generations of a family onto the same dance floor. Questlove’s new documentary explores how that happened. If his recent Sly Stone film examined how genius can curdle into self-destruction, this one asks a different question: How did Earth, Wind & Fire founder Maurice White build something that lasted? Abandoned by his mother as a child, White set out to create not just a band but a family, assembling a sprawling ensemble around a musical and spiritual vision. Questlove is too thoughtful a filmmaker to sand down the rough edges. White emerges as both inspiring and flawed: a gifted bandleader, spiritual seeker and demanding perfectionist whose drive sometimes came at a personal cost. Drawing on interviews with everyone from former bandmates to Stevie Wonder, Lionel Richie and Barack and Michelle Obama, Questlove builds a portrait of White that never shies away from his contradictions. In the process, he shows how White’s fascination with spirituality, Egyptology and the cosmic unknown shaped both the band’s music and mythology. You may occasionally wish the film lingered longer on the performances themselves (for a reminder of what made Earth, Wind & Fire such a formidable live act, start with the 1975 concert album “Gratitude”). But by the end, you have a deeper appreciation for the band’s unlikely feat: turning something so eccentric into something so universal. — Josh Rottenberg

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Larry David in “Life, Larry and the Pursuit of Unhappiness.”

(John Johnson / HBO)

Is Larry David about to be the most entertaining (and crankiest) history teacher America has ever had?

To celebrate the arrival of the nation’s semiquincentennial, the comedian teamed up with Barack and Michelle Obama’s Higher Ground Productions to revisit the truth of our history with some comedic chaos. The result is “Life, Larry and the Pursuit of Unhappiness,” a seven-episode sketch comedy series from the mind of David and his longtime “Curb Your Enthusiasm” collaborator Jeff Schaffer that pairs reenactments of seminal milestones from America’s past with David’s misanthropic humor — or, as its creators dub it, “‘Curb’ in costume.” Subtitled “An Almost History of America,” it features a star-studded roster of actors dressing up in period clothes alongside David, including “Curb’s” Jeff Garlin, J.B. Smoove and Susie Essman, as well as Bill Hader, Kathryn Hahn, Jon Hamm and Jerry Seinfeld. The first episode premieres Friday at 9 p.m. ET/PT on HBO and will stream on HBO Max.

Over a video call, Schaffer discussed the show’s genesis, former President Obama’s improv skills and the British TV series that has him entertained. — Yvonne Villarreal

Tell me about getting into business with the Obamas. Their production company approached Larry. How did it evolve into this?

Larry and President Obama know each other a little bit. They really enjoy each other’s company, or at least Larry enjoys needling Obama, and Obama really enjoys needling Larry. The moment that we all met together to have our first meeting, the first thing Obama does — I’ve never met the president [prior]— he starts just ragging on Larry’s golf game, and how he wears so much sunscreen on the golf course. And Larry just goes to President Obama, “Oh, I’m sorry, my dad’s not from Kenya.” And that’s how it started. They have a great rapport and they wanted to do something special for the 250th [anniversary]. Larry says no to everything — his best friend can be having a premiere of a movie, and Larry will go, “Where is it in Hollywood?” But Larry’s not going, that’s too far. When this came around, Larry was like, “Huh, that’s actually pretty interesting.” He responded right away to the historical nature of it because, as he would say, he’s an American history buff.

The genesis for Larry and I is that we had done a tiny test run of this with that FTX ad for the Super Bowl a few years back. I don’t know, whatever happened to those people — I’m sure they’re fine — but he remembered how much fun he had being in costume. And honestly, I think he forgot how much he hated being in a wig. It’s like childbirth, enough time had passed.

Given the sort of tenor of the times, why does this type of comedic look at America’s history feel like the appropriate way to mark this anniversary?

It’s the 250th and I get that celebrating the country right now may feel like throwing a birthday party for your friend who’s in rehab — he’s all f— up — but we still love him, right? There’s a way to look at the country’s history, warts and all, the two steps forward and the one step back. And I think one of the best ways to do that is through comedy.

Going back to President Obama — what are the negotiations to get him to appear in it? Or was that on the table from the beginning?

Once I saw the two of them interact together, that became my primary mission. We’ll write the sketches, and we’ll do the documentary stuff, we’ll make it all historical and fun, whatever, but we have to get you two on screen together. It was also sort of the promise of the show, too. When I originally talked to Amy Gravitt at HBO about it, I remember I said, “What if I could give you a show that brought together two people half of America loves?”

What was it like directing them in a scene together? He gives the opening remarks at the start of the show.

He is a truly inspiring, amazing human being who also happens to have great comedic timing. He and Larry get into a groove immediately, which is very fun, and it was honestly one of the coolest things I’ve ever done in my life, directing them. The president said, “I guess I like being annoyed by Larry. Once we get together, I start sounding like him.” It’s like Larry’s this black hole of negativity that sucked Obama in for these brief periods of time; it was just fun.

Is he good at improv then on the spot like that?

Yes, he is. He’s got some really funny stuff in the sketch they’re in together that is all him — 100% the president.

Do you have a favorite moment from this first episode — it features the Declaration of Independence, segregation and Rosa Parks.

There’s different things in each of them. The thing that I’m most excited about is when you don’t know what the next one’s going to be, and then when the narration for the little documentary section starts, and it starts talking about Rosa Parks, I can just see [viewers] going, “Oh no …” That’s a great “Curb” feeling. It’s a comedy horror film — “Oh no, don’t do that, oh no.” Then you get sucked in.

We tried really hard to make sure that production-wise, there’s historical accuracy, so it really felt like you were in this moment. Then Larry gets dropped in, and all hell breaks loose. Same thing with World War I — I got to shoot a whole bunch of World War I fighting — and there’s Larry pretending to be dead. One of the things that attracted us to it in the very beginning was the idea of the juxtaposition between these big dramatic moments and then Larry. History is writ large, and Larry writes so small and that dynamic is fun for us.

One of the great things about a show like this — or what’s come before, like “Drunk History” — are the lessons that can be learned. Is there something you learned while filming this series or a takeaway you had in looking back at our history?

There are things I did not know. One of the things that was also enjoyable is being able to talk about modern things in a historical context, even with that phone. We don’t write dialog — we write some, but it’s basically like doing “Curb.” Larry knew that people were going to ask some questions about the phone, but I just was peppering these people with questions about all of the modern stuff, and just watching Larry get angrier and angrier at these people. At a certain point, the membrane of actor, of character to real human being was breached. He was so mad at them, but that’s what making the show is. Actually, at the end of the our shoot, President Obama said to me, “I see how it works. Larry makes the world uncomfortable, and you make sure the world makes Larry uncomfortable.” That’s literally how we make the show.

Would this format work for current historical events? How do you think, 250 years from now, a reboot of this show would tackle something like telling the story of the UFC fight on the White House lawn?

That’s the problem — we’ve entered an era of America parodying itself. It’s insane. One of my good friends, Dave Mandel, used to do a “Veep” and he’s like, “What do you do now?” I think what we tried to do, and you’ll see as you go further into episodes, we try to address a lot of things that are happening right now through a historical lens. So we might be back in colonial times, and we might be back in the ‘50s, but we’re actually talking about something that’s happening right now.

Before I let you go, what is the TV show or movie out right now that you’re telling everyone to watch?

I just started watching “Steve and Alice” [Hulu, Disney+]. It’s so well done; it’s so dark and funny and really engaging.

What’s the comfort show or movie you return to again and again?

I can pretty much put on any “Lord of the Rings” [HBO Max] movie anywhere and not be able to get my butt off the seat.

ICYMI

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As summer heats up alongside the exhausting news cycle, it’s crucial to find ways to unplug and wind down. Golden Hour in the newly renovated sculpture garden at the Norton Simon Museum is just the thing. Taking place tonight (Friday), and on two more Fridays this season (July 31 and Aug. 28), the event lasts from 4:30-6:30 p.m. and features a different musical group each time.

Tonight is the Verbena Quartet; a North Indian ensemble and a jazz trio are upcoming.

The fun is free with museum admission, and guests are encouraged to bring blankets to relax in the grass. I took my family of four to a recent event and it proved to be the rare occurrence when both the 10-year-old and the 17-year-old were happy. The museum provides all kinds of great art supplies on a big table by the entrance, including sketch paper, clipboards, colored pencils and charcoal drawing utensils.

There are also sheets of paper encouraging creative ways to approach drawing various sculptures in the garden, alongside a family-friendly Golden Hour bingo card with squares including “Spot something framed by tree branches” and “Look at the space between two objects.”

I did some drawing with my toes in the grass while my kiddos curved their necks over their own mini masterpieces. My husband read a book. The sun slanted low as the afternoon melted into early evening, casting lovely shadows on the families, couples, friend groups and solitary artists scattered around the garden sipping wine and snacking on cheese and crackers from the nearby cafe.

When we had our fill of relaxing, we ambled into the museum. My daughter wanted to gaze at the Picassos and the Van Goghs. As did I. I never don’t cry when I look at “The Mulberry Tree.”

“Can you imagine what he was thinking?” I asked my 10-year-old as we regarded the painting. “The pain and the beauty of it?”

She nodded sagely, gently smoothing her thumb against her own recent drawing, her deep inner world a mystery to me. The beauty and the pain of it. I was glad we had cuddled together in the late afternoon sunshine.

I’m arts editor Jessica Gelt, wishing you and your loved ones peace. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Antigone
The Bebelos Players present a back-to-basics production of Sophocles’ classic drama about a young woman who defies a king to honor her dead brother.
7 p.m. Friday-Sunday. Theosophy Hall, 245 W. 33rd St. eventbrite.com

“Horse,” by Rick Bartow, 2014, wood, tar, wax, false teeth, nails. 56 x 42 x 12 in.


(Yubo Dong, ofstudio)

Rick Bartow
Last chance to catch “All of these things have happened,” an exhibition of works on paper by the late Native American artist that touch on tragedies from throughout his life, as well as “Horse,” a 2014 sculpture covered in tar, wax, false teeth and nails that is “a study of sustained resilience.”
Noon-5 p.m. Friday-Sunday, Wednesday and Thursday (last day). Timothy Hawkinson Gallery, 7424 Beverly Blvd. timothyhawkinsongallery.com

Spencer Finch
“Balboa of House and Garden,” composed entirely of new work, is the artist’s first exhibition in Los Angeles. The show includes more than 50 unique works on paper, a site-specific skylight installation and a monumental outdoor sculpture. Finch’s “Memory Landscape (Nairobi, Chicago, Honolulu, Jakarta),” 2025, a commissioned tile wall mural inspired by places from President Barack Obama’s formative years, was recently installed at the Obama Presidential Center in Chicago.
Opening, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday, through Aug. 22. Lisson, 1037 N. Sycamore Ave. lissongallery.com

Bodo Mato
The pseudonymous multidisciplinary artist uses a subconscious dreamworld to access a legendary lost city to find real-world parallels in the exhibition “Atlantis: Echoes of Hubris.”
Opening reception, 6-10 p.m. Friday. 11 a.m.-5 p.m. Saturday-Tuesday. 7811 Gallery (West), 7813 Melrose Ave. 7811gallery.com

Raymond Saunders, “Layers of Being,” 1985. Mixed media on canvas, 81 x 59 15/16 x 1 in.

(Carnegie Museum of Art, Pittsburgh / Gift of Mr. and Mrs. William Block / © 2025 Estate of Raymond Saunders)

Raymond Saunders
“Flowers From a Black Garden” is a career-spanning look at the painter (1934-2025) as he moved from Dada, expressionism and assemblage to Fluxus, Pop and postmodernism, beginning in the 1960s.
11 a.m.-6 p.m. Wednesday-Sunday, through Jan. 3. UC Irvine Langson Orange County Museum of Art, Segerstrom Center for the Arts, 3333 Avenue of the Arts, Costa Mesa. langson.uci.edu

SATURDAY

Chrysalis prototypes deployed in Joshua Tree, 1970, reproduction.

(Chrysalis Corporation)

Alternative Palm Springs: Other Desert Architectures
In some parallel reality there may exist a Coachella Valley unlike anything you’ve ever imagined. In lieu of that, this exhibition shares the unbuilt visions of prominent architects, off-grid designs of the counterculture, and private and public worlds created by the LGBTQ+ during the 20th century, yielding an expanded view of the area’s architectural ambitions.
10 a.m.-5 p.m. Friday-Sunday; noon-8 p.m. Thursday; through Jan. 4; closed June 26 and July 4. Architecture and Design Center, Edwards Harris Pavilion, 300 S. Palm Canyon Drive, Palm Springs. psmuseum.org

Declarations of Independence
Gay Men’s Chorus of Los Angeles and guest artist Justin Tranter celebrate national and individual freedom and pride for America’s 250th anniversary.
7 p.m. Saturday; 3:30 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills. gmcla.org/declarations

A Great Night in Hip-Hop
The Roots return for their third year at the Bowl, joined by Nas, with appearances from T.I., Bun B, De La Soul and more.
7:30 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Rota Fortunae
A one-night-only experimental opera featuring Jordan Slaffey reimagines the four women of the 1996 crime thriller “Set It Off” using movement, live music and fashion. Directed by Chris Emile, music by composer and DJ Cody Perkins and designs by James Flemons.
7:30 p.m. Indoor Swap Meet, 128 S. La Brea Ave., Inglewood. eventbrite.com

Peter Stampfel
An innovator of anti-folk, freak-folk and psych-folk, the 87-year-old co-founder of the Holy Modal Rounders makes a rare West Coast appearance.
8 p.m. McCabe’s Guitar Shop, 3101 Pico Blvd., Santa Monica. mccabes.com

THURSDAY

Ojai Film Society Summer Screening Series
Annual presentation of independent, foreign, documentary, critically acclaimed and classic films kicks off Thursday with Taika Waititi’s 2016 adventure comedy “Hunt for the Wilderpeople,” starring Sam Neill. Other screenings: “Selena Y Los Dinos” (July 10); “Cookie Queens” (July 17); “Best in Show” (July 24); “Arrival” (Aug. 20); and “Jurassic Park” (Aug. 27).
7:30 p.m. Thursday; various dates through Aug. 27. Libbey Bowl, 210 S. Signal St., Ojai. ojaifilmsociety.org

Tank and the Bangas
The Grammy-winning New Orleans music group shares its signature blend of funk, soul, hip-hop, rock and spoken word. Featuring an opening set by Butter Funk Family and DJ sets by Tosstones.
7 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

Arts anywhere

Meryl Streep, from left, and Amanda Seyfried, Rachel McDowall and Ashley Lilley in the 2008 movie version of “Mamma Mia!”

(Peter Mountain / Universal Pictures)

Broadway unbound

Two of the biggest hit musicals ever are in town simultaneously starting this week — “Mamma Mia!” is at the Ahmanson through July 19 and “Phantom of the Opera” plays the Hollywood Pantages through Aug. 9. If you want to bone up beforehand or relive the hits after you’ve been to the theater, the cinematic adaptations of both are widely available. The 2008 movie version of “Mamma Mia!” starring Meryl Streep and Amanda Seyfried streams on Prime through the end of June and the 2004 “Phantom” with Gerard Butler and Emmy Rossum is streaming on Prime and Apple TV. Both films are available to rent or buy on various platforms and, if you’re into physical media, relatively inexpensive Blu-ray and DVD versions can be had online. Public libraries are also great resources for arts-related content.

— Kevin Crust

Culture news and the SoCal scene

Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax Station in Los Angeles on May 8, 2026.

(Genaro Molina / Los Angeles Times)

With the new Metro D Line subway extension up-and-running with new stations at Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega, we asked architecture writer Sam Lubell to take an aesthetic look at these new displays of public art. “Suddenly the city feels different. Not transformed, exactly. But more connected,” wrote Lubell. “The fracturing grip of the city’s incomprehensible expanses, clogged arteries and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. … The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience … But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below.”

The Hollywood Bowl opened its summer season with a lavish production, “The Best of Broadway,” starring Lea Salonga, Brian Stokes Mitchell, Darren Criss, Renée Elise Goldsberry and Halle Bailey, and hosted by Billy Crystal. The program including a selection of Broadway tunes old and new, was delivered with flair to an appreciative audience. “I had a lovely time,” reports Times theater critic Charles McNulty, “but I can’t say the concert lived up to its title. Not that impressive virtuosity wasn’t on display, but Broadway is truly at its best when musical numbers are embedded in a story, allowing the performers to feed off each other and reach heights that they might not be able to reach on their own. Too much of the bill required the actors to stand and deliver, ‘American Idol’-style. It was a little unfair to place such a heavy burden on them.”

McNulty also reviewed the Geffen Playhouse’s Los Angeles premiere of Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous,” about an American expat actor angling for her big comeback. The play, wrote McNulty, “is hamstrung with exposition. More time is devoted to setting up the dramatic situation than to activating it. … The intentions are noble and the themes are handled with admirable complexity, but the writing is sluggish. The plot is like an old car whose engine just refuses to start on a cold winter morning.”

After 20 years as LA Opera Music Director James Conlon will step down.

(Robert Gauthier / Los Angeles Times)

The final show of L.A. Opera’s production “Marriage of Figaro” last Sunday also marked the end of James Conlon’s tenure at the podium as the organization’s music director. Stepping down after 20 years, Conlon spoke to Times classical music critic Mark Swed. “I love L.A. and I’m not going to leave,” said Conlon. “I am absolutely happy at this point in my life. You know my age is 76. It is not a secret. I wear it proudly. But I’ve been a music director for 47 years, and I don’t want to be a music director any longer. I will still conduct.” Will he return regularly to L.A. Opera? “That’s the theory,” he said

Another maestro who can’t quit L.A. is Esa-Pekka Salonen. Last weekend, the beloved composer and conductor, who is back with the L.A. Phil as creative director, returned to the Ojai Music Festival after a quarter-century absence. “Salonen found renewal not from the desperation of rethinking but from freshening, illuminating the perception of exceptional young musicians first encountering greatness,” wrote Swed in his review of the four days. “In these uncertain times, that may be the most remarkable act of artistic optimism.”

Spanish artist Nieves Gonzalez stands next to one of her paintings that is part of her solo show at the Richard Heller Gallery at Bergamot Station in Santa Monica on June 18, 2026.

(Genaro Molina / Los Angeles Times)

Not yet 30, Spanish painter Nieves González is a burgeoning international art star with an exhibition at Richard Heller Gallery in Santa Monica. “Fashion inspires me,” she told writer Jane Horowitz in a recent interview. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same. The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”

“California Gothic: A Bus Tour,” an avant-garde sightseeing event organized by the New Theater Hollywood, turns Tinseltown “into a stage, drawing locals for a mash-up of state history, gothic storytelling and public-intellectual riffing on the broken California dream,” wrote Times staff writer Eloise Rollins-Fife. The tour ended its latest run in mid-June, but will reopen during the last week of October for a special “ghost tour” edition.

Times columnist Patt Morrison reported from the City of Lights on Paris-born street artist JR’s “La Caverne du Pont Neuf,” which she describes as “an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range … an homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.” The work uses about 200,000 square feet of printed fabric on the city’s oldest bridge to create the illusion and the artist told Morrison, “Your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”

Stewart McLaurin, president of the White House Historical Assn., displays a newly-acquired suite of four interrelated paintings by Norman Rockwell titled, “So You Want to See the President!” at the association’s offices Wednesday, June 10, 2026, in Washington.

(John McDonnell / Associated Press)

In the 1940s, Norman Rockwell spent time in the visitor’s lobby of the White House sketching U.S. senators, members of the military, the press and a Miss America as they awaited entry into the Oval Office to see President Franklin D. Roosevelt. Eight decades later, four of the sketches have been acquired by the White House Historical Assn. for $7 million, according to the Associated Press. Titled “So You Want to See the President!” the sketches will be on public display through June 2027 at the historical association’s “The People’s House” education center near the White House.

It was a busy week for announcing some of this fall and winter’s Broadway openings. Lincoln Center Theater’s Vivian Beaumont will host a revival of Aaron Sorkin’s “A Few Good Men,” starring Bradley Whitford and Tom Blyth, directed by six-time Tony winner Michael Arlen, starting Oct. 8. In March 2027, LCT Artistic Director Lear deBessonet will helm a new production of Rodgers and Hammerstein’s “The Sound of Music,” for its first Broadway run in nearly 30 years. A revival of Richard Greenberg’s “Three Days of Rain” lands in February 2027 at a Shubert Organization-owned theater to be announced with Anna D. Shapiro directing. The cast will include “Heated Rivalry’s” François Arnaud and David Corenswet of “Superman” in their Broadway debuts, joined by Yvonne Strahovski of “The Handmaid’s Tale.” The play was previously on Broadway in 2006 with Julia Roberts, Bradley Cooper and Paul Rudd. Walter Hill’s 1979 gang saga “The Warriors” will make the leap from screen to stage as a musical, with a book, music and lyrics by Lin-Manuel Miranda and Eisa Davis. Previews begin at Broadway’s Lunt-Fontanne Theatre in March 2027 with an opening slated for April. Jenny Koons will direct.

— Kevin Crust

And last but not least

We cover a lot of awards in this space, but today we get to give a shout-out to one of our own. Times theater critic Charles McNulty was awarded the prestigious Nell Minow Award for Cultural Criticism by the National Press Club this week. His submission included a reflection on the Los Angeles wildfires through the poetry of Shakespeare’s “The Tempest”; a tribute to South African anti-Apartheid trailblazer Athol Fugard; and an essay on the complexities of Audra McDonald’s performance in “Gypsy,” among others. The Times also won the Breaking News Award in the print/online category for its reporting on the January 2025 L.A. firestorms. A presentation ceremony and dinner will take place Aug. 27 at the National Press Club in Washington, D.C. For the complete list of winners, visit press.org.