show

“Night Watch” has an easy hook, starting with its setting. The immersive monster show is staged inside an ominous white van.

Yes, a real van. It’s creepy, and pulls equal inspiration from immersive theater, video games, escape rooms and environmental design. At a little over 30 minutes or so, it’s refreshingly approachable, a bite-sized slice of interactive, participatory theater that lingered with me long after I saw it. And not just because there were moments that startled me. “Night Watch,” like any good monster story, has metaphors on its mind.

“Night Watch” is the creation of Sara Biel and KJ Knies, a husband-and-wife creative team with day jobs working for a themed entertainment design firm. On their own, however, they go by Bee’s Knees. There’s buzz around “Night Watch.” Its initial October dates sold out nearly instantly, but the couple is extending the run at least into mid-November. Additional tickets will go on sale Wednesday at 9 p.m., and those interested are advised to join the waitlist.

The couple’s experience in theme park design is evident in “Night Watch,” as its small cargo van is ripe for exploration, with TVs, monitors, filing cabinets and more outfitted with vintage tech and lore-building corporate paraphernalia. Before the show properly began, I started frantically combing through folders and flipping through notebooks.

KJ Knies and Sara Biel are the creators of “Night Watch,” an immersive horror story set in a van.

(Bee’s Knees)

Yet I soon learned my goal here was not so much to find clues, like in a typical escape room, but to build a personality profile. Participants are assigned the role of an overnight security guard to monitor a mysterious tech firm. You’re unaware, at least at the start, of what kind of business the company is in, but “Night Watch” wants you to get to know the person who held the job before you. The van is outfitted with posters of national parks, hinting at someone who was longing for a life with more freedom and travel than a working-class career provides.

“Night Watch,” off the bat, wants us to grapple with how personal dreams can clash — or become lost — with the corporate world. It feels personal, and that’s no accident, says Biel, as the show was informed by the couple’s own talks about their future.

Throughout “Night Watch,” attendees are tasked with examining security footage.

(Bee’s Knees)

“I moved to L.A. to become a writer. KJ moved to L.A. to become a filmmaker,” Biel says. “Now we’re on this different corporate path. Is this the path that we should be on or should we have listened to our gut and went a more artistic direction? I feel like all of our friends are going through this. You move to this city to do one thing, and you fall into a different path. That’s not bad. I’m of the opinion that you follow the doors that open as you go, but that’s what we were grappling with and what we wanted to bring into this show.”

With monsters, of course.

I completed “Night Watch” solo, but the show can accommodate up to four people (tickets for two start at $90). You’ll interact with an actor who plays your co-worker during the production, primarily via a two-way radio. At times, you’ll monitor the action outside of the van. Other moments have you digging into the digital files of the previous security guard, who is said to have mysteriously left his job. But mostly you’ll just talk with your unseen co-worker, who might push you into philosophical discussions about your hopes for a better life. This creates an inherent tension in “Night Watch.” You might know on one level that this is a monster story, and yet like me, find yourself opening up about personal details, trying to manifest a better day for yourself.

Details inside the van.

(Bee’s Knees)

With “Night Watch’s” emphasis on security footage and old computer logs, Knies says he was influenced by full-motion video games, citing the work of Sam Barlow and his voyeuristic crime game “Her Story.” It isn’t hard to see the show as a thinly veiled statement about our current tech-obsessed era, with each day bringing with it seemingly fresh announcements about some new site, social media add-on, gadget or AI tool that promises to improve our lives (but rarely, if ever, does). There’s a moment when you start to wonder if the business you’re providing security for is actually one of the “good guys.”

The project’s story, says Knies, began with a simple sketch from Biel: “The first idea that Sara pitched me was a monster sucking souls and pooping gold.” It spiraled from there, and the last half of “Night Watch” comes quick as we unravel its multiple mysteries. And that’s where the frights, heightened by the intimacy of the van, come in.

“We really wanted to play with having a confined space that we could manipulate to our advantage,” Biel says. “We wanted to play with the effects of moving the van and shaking the van and closing off your viewpoint.”

The confined venue — a dimly lit storage van — helps participants narrow in on the mission.

(Bee’s Knees)

The van has other benefits, too, especially in L.A. where it’s hard to find a unique venue for a limited-run show. “The cheapest and easiest places you can get are white walls with tile floor, but then you’re going to spend so much money decking that out to make it feel like a lived-in space,” Knies says.

“Night Watch” is currently staged outside of Hatch Escapes, home to some of the city’s finest escape rooms, in Arlington Heights. Biel says the two are talking to Hatch about hosting the show there long-term, but there is one hitch. The van is a rental, and at some point it will need to be returned.

“Don’t tell Enterprise that we painted on their walls,” Knies says.

This week in SoCal theme parks

An audio-animatronic Indiana Jones figure hangs above guests on Disneyland’s Indiana Jones Adventure.

(Myung J. Chun / Los Angeles Times)

• Indiana Jones is adventuring again. Disneyland’s popular Indiana Jones Adventure reopened after a six-week refurbishment on Friday with a number of changes. Most of them will be invisible to guests, but Disneyland engineers worked behind-the-scenes to make the attraction more reliable and found ways to increase its capacity. They also added some spiders. Read all the details here from my walk-through of the attraction last week.
• A bookstore for us immersive, theme park geeks. Coming next year to Los Angeles, near the corner of Melrose and Fairfax avenues, is Genres Book Society, boasting a design led by former Walt Disney Imagineer Ann Morrow Johnson. Genres is part bookshop, part speakeasy and part immersive venue. There’s a dragon, a secret bar and a tree with glowing books. Read more about this bookshop dreamed up by Clare Grant and Karissa Marston here.
• Nikki, meet Nikki. One of my highlights of this year’s Halloween Horror Nights at Universal Studios Hollywood was interacting with a scare actor playing the role of Nikki from the film “Obsession.” The other week, the actor who initiated the role in the movie, Inde Navarrette, visited the horror event and had her own dalliance with one of the park’s Nikki performers.
• Still need Halloween plans? The doors of downtown’s Clifton’s, a venue some say inspired Walt Disney (although this isn’t really confirmed by any official sources), will be open for an immersive theater dinner show. Expect roving actors, multiple storylines to follow and an otherworldly wedding that may or may not involve monsters. The current operators of the historic space have big plans for programming similar such events throughout the holiday season. “The Dark Wedding” runs Friday through Sunday, and tickets start at $65.

A farewell to Halloween season (but mostly just to Cars Land’s zombie car)

A mostly deceased “zombie car” struggles to come to life at Cars Land in Disney California Adventure.

(Todd Martens / Los Angeles Times)

The first Oogie Boogie Bash at Disney California Adventure was held this year on Aug. 18, which means Halloween season is coming to a close after a 2½-month celebration. Our local theme parks will be wrapping up Halloween festivities this weekend, and it was a good one. Universal Studios Hollywood shined with a “Sinners”-inspired maze, but the star of the event was its dedication to Ozzy Osbourne. And Knott’s Berry Farm was wise to partner with the Magic Castle.

But in terms of pure decor, the Disneyland Resort has everyone beat, and I wanted to take a moment to salute my favorite Halloween adornment. I was initially nervous, as when the resort debuted its Halloween look in August the zombie automobile in Cars Land was missing. I make a beeline to it each season because it’s such a demented tale that I want to make sure it hasn’t left the park. This mostly dead skeleton car sits outside Radiator Springs Curios, owned by the character of Lizzie. Lizzie is a widow, lovesick at the loss of her husband Stanley.

The shop was under refurbishment earlier in the season, hence the reason for the zombie car’s late arrival, but I was relieved when it finally materialized a couple weeks ago, its body trying to emerge from the ground from under a tree. It’s a morbid story. Lizzie, see, has created a “ghoul-ant” (coolant, get it?) in the hopes of bringing dead cars back to life. She wants to use it on Stanley, but not until its perfected. It’s not. This mostly lifeless car struggles every few seconds to get its engine going. Occasionally, it musters enough strength to get the radio powered on. But it’s mostly just trapped in a near-dead state.

This zombie car is nothing more than the result of a failed experiment, and the implication is there will be more, as Lizzie will not stop until she’s reunited with Stanley. It’s more than a little sick, but also a statement about the way a lost love can forever haunt us. In that sense, it’s perfect, and I adore it. See you, hopefully, next year, zombie car.

The best thing I ate at the parks this week

The short rib lasagna from the Hearthstone Lounge.

(Todd Martens / Los Angeles Times)

With the heat briefly lifting a little bit ago, it was time to revisit my favorite dish at the Disneyland Resort. It’s heavy, hence the reason I was eager to tackle it when things cooled down. I’ve ordered the short rib lasagna from the Grand Californian’s Hearthstone Lounge three or four times over the past year, and I’m now convinced it’s among the best items on the menu at any restaurant at the resort, including the high-end fine dining establishment Napa Rose. It’s that good. And yes, it’s pricey at $42, but it’s a large portion and could easily be split. In fact, I wish I had done the latter, but I was at the park solo and had to immediately end my night after feasting on this decadent dish because I was simply too full to continue exploring. The tender short rib easily peels apart with a fork, and it’s plentiful. A trio of cheeses, and a heavily creamy Bechamel sauce, coupled with a buttery Mascarpone, make this the perfect winter dish. I’ll be at Disneyland on Thanksgiving, and am half thinking of making this my holiday meal rather than turkey.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Morning crowds at Disneyland just after park opening, known as “rope drop.”

(Myung J. Chun / Los Angeles Times)

Late breaking theme park news arrived Tuesday morning courtesy of trade group the Themed Entertainment Assn., which released its 2025 global attendance report. The news for the theme park sector is … mixed? Here in SoCal, attendance at Disneyland Park and Disney California Adventure increased ever-so-slightly, at 0.4% each. Disneyland drew 17.4 million in 2025, making it once again the second most-visited park in the world, behind only Walt Disney World’s Magic Kingdom. Just over 10 million visitors took in California Adventure.

Universal Studios Hollywood fared less great, suffering an attendance dip of 8%. The report attributes the downtown to our devastating wildfires early in the year, as well as a decline in international tourism to the region. It’s worth noting that the park in 2023 opened Super Nintendo World, and it’s newness may have worn off a bit for local visits last year. Overall, the park drew 8 million guests.

Also suffering declines in attendance were Knott’s Berry Farm and Six Flags’ Magic Mountain, each dipping about 4%. Knott’s drew 4.3 million attendees while the Valencia park brought in 3.2 million visitors.

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Tom Jones has postponed two California concerts after coming down with a “bad case of the flu.”

Hours before he was expected to take the stage on Monday at the Greek Theatre, the Welsh crooner announced on Instagram that he was rescheduling his L.A. and San Diego concerts on doctor’s orders.

“I’ve had a great time these last few weeks, completing 20 shows and singing for wonderful audiences across the USA, but unexpectedly I’ve been hit with a bad case of the flu,” Jones wrote. “Following doctor’s advice, I unfortunately have to reschedule tonight’s show in Los Angeles and tomorrow’s show in San Diego.”

Monday’s Greek Theatre show will now happen on Nov. 4. His show at the Rady Shell at Jacobs Park has been postponed until Nov. 3.

According to the Instagram statement, all tickets for the original shows will be honored for the new dates. Those who are unable to attend the rescheduled concerts are advised to request a refund through the original point of purchase.

The 86-year-old “It’s Not Unusual” singer is on the tail end of his “Come Gather Round Tour.” His San Francisco show on Nov. 1 was expected to be the finale, but the tour will now wrap in L.A. Jones is scheduled to perform next at Yaamava’ Theater on Thursday.

“I’m truly sorry for any inconvenience caused,” Jones said. “I look forward to seeing you all soon.”

Jay-Z has chosen himself to headline the Super Bowl halftime show.

The 25-time Grammy winner will perform at Inglewood’s SoFi Stadium on Valentine’s Day, Apple Music, the NFL and Roc Nation announced during the Cowboys vs. Eagles “Monday Night Football” matchup.

This caps a banner year for Jay-Z. The rap superstar performed two back-to-back concerts at SoFi Stadium last weekend — part of his “Jay-Z 30” tour celebrating the 30th anniversary of his debut album, “Reasonable Doubt,” and the 25th anniversary of “The Blueprint.” He sold out three nights at New York’s Yankee Stadium in July, followed by stops in London and Paris. He partnered with legendary music producer Rick Rubin on “Jay-Z in 8,” an eight-part documentary about his life and legacy released by HBO last month.

“From Reasonable Doubt to standing on the Super Bowl Halftime stage, this has been a journey,” Jay-Z said in a news release. “Thirty years of music, work and culture on the world’s biggest stage. This run continues to be a dream come true.”

Miley Cyrus, Justin Bieber and Harry Styles were reportedly also in the running, but lost out to the decision-maker himself.

Super Bowl LXI marks the eighth year that Roc Nation, the entertainment behemoth founded by Jay-Z, will produce the halftime show. The Brooklyn rapper has had the ultimate say in who the halftime performer is every year since 2020. In 2019, Roc Nation signed on to consult the NFL on live music entertainment and the social justice initiative Inspire Change, which aims to reduce barriers to opportunity, especially in underserved communities. They extended their deal in 2024 for another five years.

Roc Nation will executive-produce “The Apple Music Super Bowl LXI Halftime Show” and Hamish Hamilton will serve as director.

“For several years, we’ve had the privilege of working closely with Jay-Z and Roc Nation, and I’ve seen the extraordinary impact he has had on the Super Bowl Halftime Show,” NFL Commissioner Roger Goodell said in a news release. “When we first reached an agreement with Roc Nation to produce the show, I had just one request: that Jay-Z take the stage himself one day, whenever the moment felt right to him. I couldn’t be more excited for fans around the world to experience the artistry, creativity and cultural impact he will bring to the Super Bowl stage.”

Jay-Z told Entertainment Tonight in 2024 that it was too soon for him to take on the task.

“I thought it would be selfish to pick myself too early. Maybe one year. Maybe,” he said.

The NFL had approached him years prior about headlining the Super Bowl halftime show, but it came with the stipulation to perform “Run This Town” with Rihanna and Kanye West.

“Of course I would have,” Jay-Z told the New York Times in 2020, “but I said, ‘No, you get me.’ That is not how you go about it, telling someone that they’re going to do the halftime show contingent on who they bring. I said forget it. It was a principle thing.”

Rihanna eventually performed at the 2023 Super Bowl. She may be one of his guest stars come Feb. 14, but he could tap any top artist to perform, considering his label’s deep roster of talent … and the fact that he’s married to Beyoncé. Beyoncé headlined the halftime show in 2013 and made a guest appearance during Coldplay’s Super Bowl 50 set in 2016.

Bad Bunny headlined the show in February, which created an uproar and something of a culture war. “Turning Point USA, the conservative organization founded by the late Charlie Kirk, put together a so-called All-American Halftime Show featuring Kid Rock in an appeal to viewers scandalized by … the Spanish language? Dancing? The idea of fun?” Times music critic Mikael Wood wrote in his review. “For the NFL, the blowback was a calculated risk as the league makes a push to globalize its fan base.”

Before Bad Bunny, performers have included (in reverse chronological order): Kendrick Lamar; Usher; Rihanna; Eminem, Dr. Dre, Snoop Dogg, Kendrick Lamar and Mary J. Blige (all together in 2022); the Weeknd; and Shakira and Jennifer Lopez (also together). Last season’s game drew almost 125 million viewers; this is one of — if not the — biggest stages in music.

The Super Bowl will air on ESPN, ABC and Disney+.

YAZMIN Oukhellou has sparked fury from the family and friends of her late ex Jake McLean – and it’s all because of a new reality show.

The former Towie star was recently confirmed as part of the celebrity line-up for Stacey Dooley Sleeps Over.

The series will see the Strictly winner spending an overnight with various stars and, according to the programme’s announcement, getting to know “who they are behind the headlines”.

But sources close to Jake’s loved ones tell The Sun that his nearest and dearest are very concerned she’ll talk about him on the show, and potentially not in a flattering way.

My source said: “Jake’s family and friends are really worried about what Yazmin will say about him.

“There is no love lost between Yaz and his family – they aren’t fans of hers at all, and didn’t invite her to his funeral. They don’t like her talking about their son.”

Yazmin, 32, and Jake had an on-off relationship, first dating in 2019 before splitting.

Then they got back together in May 2021 until July 2022, when Jake was tragically killed in a car accident in Bodrum, Turkey.

Yazmin was in the car with Jake when it veered off a cliff, but managed to survive the horror ordeal.

My source added: “Obviously it is a big part of Yazmin’s life story and a trauma she has been through, so it will definitely come up on the show.

“But Jake’s family hate when she speaks about him – they just don’t like Yaz and didn’t think she was good for Jake.

“Their relationship was volatile at times, and there was speculation she and Jake had rowed in the moments leading up to the car accident, but Yazmin has always firmly denied that.

“Either way though, they didn’t like her when Jake was alive and they don’t like her since he has died.

“They don’t think it’s fair to discuss that when Jake isn’t here to give his side of the story.”

Not helping matters is the fact that, when Yaz was announced as part of the show line-up, the official synopsis for the series mentioned Jake.

Yaz’s bio on the show’s website read: “Yazmin left The Only Way Is Essex following the tragic death of her partner, Jake McLean, and embarked on a new life as an influencer.

“Yazmin has faced criticism for publicising her cosmetic surgery procedures, and Stacey discovers the challenges she faces as she reinvents herself.”

And in a quote from Stacey, she promises some “very honest conversations”, something that has only made the McLean family more anxious.

The source added: “They don’t want Jake’s story told by Yaz.

“They feel like she shouldn’t talk about him out of respect, especially if she is going to paint him in a light that they don’t recognise.”

Jake first became known when he started dating Lauren Goodger in 2012.

The pair were on-and-off for four years, but in 2019 he was linked romantically to Towie’s Yazmin.

Yazmin later left Essex and moved to Dubai to be with Jake and they confirmed their relationship with loved-up snaps from a romantic night out in Dubai.

But sadly their love story was cut short by the car crash in Turkey.

Jake was behind the wheel of the Mercedes E-Class when it left the road and plunged down a ravine.

Emergency crews were scrambled to the scene but sadly Jake couldn’t be saved.

Passenger Yazmin was badly hurt in the smash, but managed to crawl from the wreckage.

It later found that Jake was nearly three times the drink-drive limit and on cocaine when he died in the horror crash.

A post mortem in Turkey after the 4.30am accident in Bodrum last July showed the booze and drugs in Jake’s system.

Coroner Dr Shirley Radcliffe told the inquest in Walthamstow, East London, last week: “The post ­mortem found no natural disease, as you would expect in a young man of 33. The cause of death was skull fractures and brain damage.”

Lauren Goodger, who dated Jake for four years, attended his funeral in 2023.

But Yamzin was banned by his family over allegations that a row between the pair had played a part in the crash.

Yazmin’s representatives have been contacted for comment.

THE thespians who frequent the Garrick Theatre in London’s West End are more used to seeing the likes of Richard E. Grant and Christine Baranski tread the boards than a dwarf bouncing around inside a giant balloon. 

That’s their loss though, because the families packing the venue off Leicester Square were hooting with laughter at the launch of Cirque Bererk last week – a theatre-circus spectacular with more than 30 performers that is running throughout October half term. 

And Sun Club members can get an extra 10 per cent off if they book their tickets through London Theatre Direct, when booking via our Sun Club Promo page. 

To get your tickets, sign up to Sun Club for for £1.99 a month then head to the Sun Club Offers hub and London Theatre Direct page or click here.

It was quite something to see a group of acts usually found in big tops showcasing their talents in a old-fashioned London theatre. 

Despite the smaller stage, we witnessed acrobats spinning from their mouths, men doing the limbo under poles of burning fire, motorbikes racing round a metal cage and a mesmerising quad of dancers in LED armour. 

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While there was a lack of a thread between most of the acts that left it feeling slightly disjointed, you can be sure the children in the audience didn’t notice it. 

Despite the age of the kids ranging from around three years old upwards (although age guidance is age five-plus), their concentration was held throughout the show – even though it was long enough to merit an interval. 

Of course they were – who doesn’t want to see performers juggling fire and shooting arrows through objects onstage? 

This was also in no small part thanks to the man from the aforementioned balloon, who took on the role of a modern ringmaster. 

Fans of Zippos Circus, who produce Cirque Beserk, may recognise him from Zippos travelling shows. 

With a grin wide enough to light up any stage, he tied all of the acts together alongside a comedy robot, in a style akin to an entry-level Cirque De Soleil. 

Which is essentially what this show is, a great starter show for families that is a wonderful way to introduce kids to the magic of both the circus and London’s West End.

Cirque Beserk runs every day until October 31, with tickets from £28.

On the same week that a court filing showed that construction on President Trump’s hotly contested triumphal arch could begin as soon as Nov. 5, another less reported development pointed to the possibility that the government might be misrepresenting its plans for Trump’s National Garden of American Heroes in West Potomac Park.

On Monday, the National Park Service held a meeting about a proposed redesign to the park, which is part of the National Mall and also where Trump wants to put his Garden of Heroes featuring more than 250 statues ranging from Humphrey Bogart to Kobe Bryant to Benjamin Franklin. Trump first proposed the idea in 2020, but it wasn’t until his second term — when he began a crusade to remake much of Washington, D.C.’s historic core according to his own predilections — that the plan looked as if it might manifest. The One Big Beautiful Bill Act even appropriated $40 million for the project.

The Garden of Heroes has remained largely in the background while preservationists focused on the demolition of the White House East Wing and the construction of a massive ballroom in its place, as well as the botched painting of the Reflecting Pool, and, of course, the gigantic triumphal arch.

But Monday’s NPS meeting about plans for West Potomac Park rang alarm bells for some when Judy Chesser, chair of the nonprofit conservation and preservation group the Committee of 100 on the Federal City, asked, “How does this relate to the Garden of Heroes that is being discussed in West Potomac?” to which the NPS spokesperson replied, “This is just an update to the tidal basin master plan we started before. This is not the Garden of Heroes.”

However, the Washington, D.C.-based education and advocacy organization Cultural Landscape Foundation noted that the rendering in NPS’ presentation and the illustrated “Pledge Agreement” from the National Garden of American Heroes Foundation contain similarities that “go way beyond coincidental.”

“Each includes a great lawn, a giant oval/circle, an amphitheater, a fountain, and a staircase to the Potomac River,” Charles A. Birnbaum, founding president and chief executive of the foundation, wrote in an email.

“In addition, the new design shown Monday amputates part of the FDR Memorial to accommodate the Oval. This is intentional. Clearly the Oval is meant to host something else or it would be re-scaled so as not to interfere with the FDR Memorial,” the email continued.

If this is the case, the strategy of downplaying or downright denying an intention to work on a Trump-backed project is eerily reminiscent of the strategy government lawyers used in a recent, highly publicized court battle over the removal of dozens of trees from a golf course that Trump is trying to transform into a premiere golfing destination.

In that instance lawyers repeatedly said there were no plans to renovate the golf course (thus preventing U.S. District Judge Ana Reyes from issuing an injunction against said renovations), only to chop down hundreds of trees on the course with no notice over a holiday weekend. Reyes was irate and sources familiar with the feud say that the judge expects the case to go all the way to the Supreme Court.

Meanwhile, as of 2 p.m. PDT, Thursday, opponents of Trump’s arch have filed a motion for an injunction on the possible Nov. 5 construction, arguing that Congress needs to approve any plan moving forward. This head-snapping whirlwind of motions and counter motions is expected by critics to continue to be the norm as Trump tries to push through as many of his D.C.-based renovations as possible before a new Congress is seated in January.

“What better way to celebrate the nation’s 250th anniversary than to shut down the legally required review process, ignore some 100,000 negative public comments, and fast track the construction of a bloated and deeply unpopular monument that the president claims is for him,” wrote the Landscape Foundation’s Birnbaum in a statement about the arch.

I’m Arts editor Jessica Gelt pitching preservationists for my personal garden of heroes. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

American Sound Takes Flight
MUSE/IQUE explores the nation’s music from Aaron Copland to Paul Simon in a concert setting infused with storytelling and cultural context. Featuring Brandon Victor Dixon, Liv Redpath and the MUSE/IQUE Orchestra, led by Artistic and Music Director Rachael Worby.
7:30 p.m. Friday, 2:30 and 7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Bach to Broadway
The 31st annual concert, featuring Pueri Cantores SGV, the St. Andrew School Choir, Los Angeles Children’s Chorus and members of the L.A. Opera and L.A. Master Chorale benefits the restoration of historic St. Andrew Church.
7:30 p.m. St. Andrew Church, 311 N. Raymond Ave., Pasadena. saintandrewpasadena.org

Ballet Festival: Jerome Robbins at the Ahmanson Theatre

(Steven Pisano / The Joyce Theater Foundation)

Ballet Festival: Jerome Robbins
Three programs of the choreographer’s masterworks, curated by New York City Ballet principal dancer Tiler Peck, with dancers from New York City Ballet, Paris Opera Ballet and other major companies performing to live chamber music
7:30 p.m. Friday, 7:30 p.m. Saturday, 2 p.m. Sunday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. musiccenter.org

Andrew Bird
The acclaimed multi-instrumentalist and songwriter joins with the Los Angeles Philharmonic to mark the 20th anniversary of his album, “The Mysterious Production of Eggs,” with orchestral arrangements, plus popular songs from his catalog.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Aymeric Hainaux and François Chaignaud
The musician and choreographer team up for “Mirlitons,” a marathon vocal and dance duet.
8 p.m. Friday and Saturday. The Nimoy, 1262 Westwood Blvd. cap.ucla.edu

Museum on Haunted Hill: A Celebration of Vincent Price
The institution pays homage to its original patron, the noted actor, art collector, advocate and historian, with an evening of after-hours access to exhibitions, casual screenings of classic Price films, drinks and snacks, music, a photo booth and haunted decor.
5-8 p.m. Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park. vpam.org

PLAY: A Play
EmIly Mast’s unscripted conceptual performance features six players, guided by a coach, working against a clock and an evolving set of rules to examine “the invisible systems that govern power, behavior and care.” With Hugo Armstrong, Gregory Barnett, Chu-Hsuan Chang, Jessica Emmanuel, Jessica Hemingway, Aramazd Stepanian and Maxwell Transue.
7:30 p.m. Friday-Saturday, 4:30 p.m. Sunday. The Geffen Contemporary at MOCA, 152 N. Central Ave., Little Tokyo. moca.org

Sinners: Sounds That Summon
This exhibition examines the standout Club Juke scene in Ryan Coogler’s Oscar-winning 2025 film focusing on the guitar played by the character Sammie Moore (Miles Caton), costumes, objects and archival material.
Through March 14, 2027. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org

SATURDAY

Grand Ave Arts: All Access
Tenth annual celebration of L.A. downtown cultural corridor with free exhibitions, tours, performances, family-friendly activities and more from participating organizations including the Broad, Center Theatre Group, Colburn School, Classical California, Dataland, Gloria Molina Grand Park, Grand Performances, L.A. Opera, L.A. Phil, Los Angeles Central Library, Metro Art, MOCA, the Music Center and REDCAT.
11 a.m.-4 p.m. Grand Ave., between Temple and 6th Streets, downtown L.A. grandavearts.org

Kabuki in Motion: The Lion Returns
U.S. Kabuki Ken Kyu Kai presents this program of kabuki dance, Nihon buyō (Japanese classical dance), and live koto and shamisen music featuring artists from Japan and California.
4:30 p.m. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino. huntington.org

Picasso Ceramics From the Rosenbaum Collection
The exhibition presents 63 original prints and limited-edition ceramics, including vessels, plates, pitchers and sculptural forms created by the artist after 1947.
Through Feb. 28, 2027. Bowers Museum, 2002 N. Main St., Santa Ana. bowers.org

SUNDAY

Lucile Dollat
The French organist performs music from the 16th century to the present.
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

TUESDAY

Jason Moran Presents Duke Ellington: My Heart Sings
The pianist and composer performs with members of the Pacific Symphony to engage with Ellington’s work through a contemporary frame.
8 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

The Music Man
Meredith Willson’s Tony Award-winning musical comedy brings smooth-talking con man Harold Hill to River City, where his schemes are curtailed when he falls for Marian, the local librarian.
Through Nov. 8. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

Orchestre Symphonique de Montréal with Rafael Payare
The Canadian ensemble and its charismatic Venezuelan conductor (who also leads the San Diego Symphony) perform Dmitri Shostakovich’s “Symphony No. 10 in E minor, Op. 93,” plus Felix Mendelssohn’s “Violin Concerto in E minor, Op. 64” with Leonidas Kavakos.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

The 39 Steps
Patrick Barlow’s adaptation of Alfred Hitchcock’s 1935 spy thriller (itself an adaptation of a novel by John Buchan) about an ordinary man entangled in international intrigue. Directed by Hunter Foster.
Through Nov. 22. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. lagunaplayhouse.com

The Who’s Tommy
The band’s 1969 rock opera featuring “I’m Free,” “See Me, Feel Me,” “Sensation” and, of course, “Pinball Wizard,” is transformed into a Broadway musical by composer Pete Townshend and original director Des McAnuff.
Through Nov. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com

WEDNESDAY

Nedra Ryan Taylor and Sarah Scott Davis in the play “Confederates.”

(Davis Northern)

Confederates
Institutional racism, as experienced in two different eras by Black women, is the subject of Dominique Morisseau’s 2022 dramatic comedy. Best known for her three-play cycle “The Detroit Project” as well as the book for the musical about the Temptations “Ain’t Too Proud,” Morisseau juxtaposes the plight of an enslaved rebel and Union spy during the Civil War with that of a contemporary political science professor facing a threatening work environment. Fountain Artistic Director Raymond O. Caldwell directs this sharp-eyed satire examining an unbroken thread of racial and gender bias in American history. (Charles McNulty)
Previews, 8 p.m. Wednesday-Thursday, play runs through Dec. 13. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com

THURSDAY

Seasons of America With Teddy Abrams & Ray Chen
The world premiere of Abrams’ L.A. Phil commission, written especially for violinist Chen, along with Julia Perry’s “A Short Piece for Orchestra.” Charles Ives’ “Three Places in New England, S. 7” and George Gershwin’s “An American in Paris.”
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Sasha Velour: Travesty
The Season 9 winner of “RuPaul’s Drag Race” performs a new solo work that spans queer history through lip-sync performances embodying various personas including a witch burned in a field, a clown who builds a theater and patrons of an underground gay bar.
7:30 p.m. Thursday-Oct. 30. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

The SoCal scene

Katie Folger gets ready at her home before her performance of “Getting in Bed With the Pizza Man” at the Elysian Theater.

(Carlin Stiehl / For The Times)

ICYMI, the best of this week’s L.A. Times arts coverage:

Katie Folger moved to L.A. hoping to make it for the third time in nine years. She created a one-woman show and sold it out. Will the TV pilot sell next?

Former Times arts columnist Carolina A. Miranda wrote a fantastic profile of Todd Gray as he opens a new solo show at the Brick.

The Broad announced that it’s shipping 164 works to Fondation Louis Vuitton in Paris for its most extensive exhibition ever mounted outside Los Angeles, timed to coincide with the most extensive phase of construction on its expansion.

Reggie Burrows Hodges, “Blackness in the Looking Glass and the Images of Currency: Carriage,” 2022.

(Reggie Burrows Hodges / Karma)

Artist Reggie Burrows Hodges has three concurrent shows in L.A. at the Getty, Art + Practice and California African American Museum. He prefers a low profile, but contributor Tara Anne Dalbow penned this lovely profile.

Latino Theater Company’s production of “Yamel Cucuy” is the story of a 13-year-old girl, ICE and Mexican folkloric monsters.

Times theater critic Charles McNulty headed to New York to review Billy Crystal’s “tremendously moving new Broadway show” “860.”

Culture News

Ahmanson Theatre.

(Ryan Miller / Capture Imaging)

Center Theatre Group and the YMCA of Los Angeles this week announced a new partnership called “Every Age. Every Stage,” with the aim of making live theater more accessible to a larger swath of city residents. The program includes free ticket offers for Y members as well as theater workshops and career mentorship.

A marble torso sculpted during the early Roman Empire set a new world record for ancient classical sculpture at auction earlier this week when it sold at Sotheby’s New York for $34.3 million. That was almost three times more than its pre-sale estimate of between $8 million and $12 million.

— Jessica Gelt

And last but not least

California has an adults-only train car featuring stiff drinks and great views of the redwoods.

BBC viewers have demanded Strictly to drop one popular host from Sunday night’s live show. It comes as Josh Widdicombe, Emma Willis and Johannes Radebe replaced Tess Daly and Claudia Winkleman

Strictly fans are calling for one host to be removed from the results show – and it’s not who you’d expect. Although BBC Strictly viewers have been making the same comments about Josh Widdicombe remarks, he’s not actually under the firing line this time.

The 43-year-old joined Emma Willis and Johannes Radebe in a shake-up to replace long-standing hosts Tess Daly and Claudia Winkleman, who stepped down last year. Now despite a wave of complaints since the opening show, Josh has proved why he’s worthy of a spot in the ballroom. Now over on social media, many fans reckon another host should step down for Sunday night’s results show.

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Posting on Reddit, one person began: “Disclaimer: I love Emma Willis. She’s my secret girl crush. But she’s becoming over saturated. She reminds me of Holly Willoughby. The face of every prime show, followed by Alison Hammond.

“Emma is fronting Strictly and The Voice. Two prime time TV shows. I tuned into a show last night. Was celebs cooking, hosted with Emma and Tom Allen. She’s obviously very good at her job. But aren’t their any other presenters?”

The person continued: “I was thinking of the Strictly results show they could even drop Emma? Bruce Forsyth didn’t do the results show. Correct me if I’m wrong. I don’t want to get Emma fatigue.”

Although Bruce quit the Sunday results show in 2010, he did continue the Saturday night competition until stepping down four years later. The TV legend sadly passed away at the age of 89 on August 18, 2017.

Since the Strictly fan shared their opinion, many people rushed to the comments section to share their thoughts too. One said: “Yeah I think so too.” While another added: “She’s the only presenter on the show.”

Others said it “depends on your viewing habits”.

Now after week 5’s live show, many people are warming up to the trio of hosts. Over on X, one said: “John Widdecombe and Emma Willis have fully settled into #strictly now, this is such an enjoyable watch. The funny bits aren’t awkward anymore. Tess who?”

While another added: “I’m so loving Emma, she is just right at home. Perfect.”

Strictly Come Dancing’s results show airs on BBC One and BBC iPlayer at 7:10pm tonight (October 25).

Noah Adams, a longtime host of NPR news program “All Things Considered” and a journalist known for his gentle voice and genuine curiosity, has died. He was 84.

Adams died Oct. 16 at his home in Yellow Springs, Ohio, according to NPR. The cause was complications of a benign brain tumor removed eight years ago, his wife and longtime NPR news producer Neenah Ellis told the New York Times.

A host of the weekday edition of “All Things Considered” for 18 years, Adams helped cover major news events and produced segments from his travels around the country, talking to everyday people, often in small rural towns.

“He never liked talking to people who he knew had preprogrammed things to say,” Melissa Block, a former “All Things Considered” host who’d previously worked as a producer for Adams, said in NPR’s segment announcing his death. “He wanted people who were genuinely speaking from their heart and with conviction and sincerity.”

Born on Sept. 15, 1942, in Ashland, Ky., Adams joined NPR in the mid-1970s after working various jobs including as a DJ and in construction in and around his hometown. A college dropout, Adams was inspired to start working in public radio after encountering “All Things Considered” as a listener.

He was introduced to the program by a colleague shortly after it debuted in 1971. He told The Times in 2002 that he remembered thinking, “That sounds conversational, that they intend for me to be listening, that I’m smart enough to be listening,” when he first heard the show.

After working at the University of Kentucky’s public radio station, he applied for a job at NPR. He was hired as a production assistant on “All Things Considered” in 1975 before becoming a weekend co-host for the show in 1978. He moved to the weekday show in 1982.

Susan Stamberg, Adams’ “All Things Considered” co-host from 1982 to 1987 who died last year, described him as “the most genuine, uncontrived voice in broadcasting” in the foreword of his 1992 book about his work on the program.

“The conviction shines through the words he writes, and the quiet and very powerful way in which he speaks,” she wrote, according to Current. “He is a quiet, careful man, a craftsman in his work, his seriousness softened by a twinkle in his eye, an occasional goofy grin, and the daffodils he’ll bring into the studio on an especially tense or stuffy day.”

Adams mentioned the camaraderie with his colleagues and one-on-one interviews as among the things he would miss when he left his job as host of “All Things Considered” for a second and final time in 2002.

These interviews, which often turned into “a conversation that’s so quiet and so slow,” were the “kind of conversation [that] cannot be accomplished on anything but radio,” he told The Times.

Among Adams’ signature audio work is the 1981 radio documentary “Father Cares: The Last of Jonestown,” as well as a series of interviews with Tom DeBaggio, a man living with Alzheimer’s disease, and an interview with Betsy Walter, an 8-year-old girl whose parents had gotten divorced. Adams wrote a number of books, including “Piano Lessons: Music, Love, and True Adventures,” which chronicled Adams’ quest to learn how to play the piano in his 50s, and “The Flyers: In Search of Wilbur and Orville Wright.”

“He has a writer’s eye, and I think you hear that when he’s on the air,” Robert Siegel, Adams’ “All Things Considered” co-host, said in 2002. “And he takes sound very seriously. When you combine writing with sound, you can create extraordinary radio.”

As the intro of his song “Girls, Girls, Girls” poured over the crowd at SoFi Stadium late Friday night, Jay-Z locked eyes (from behind his ever-present shades) with a guy near the stage whose excitement had bubbled over at last.

“Oh, this yo s—,” the rapper observed with a knowing little laugh. “You was waiting for this s— all night long.”

Dude was lucky not to wait even longer: The first of two SoFi gigs, Friday’s show was an almost comically overstuffed display of hits by an aging cultural giant in the middle of a legend-reclamation project; Jay-Z performed parts of three dozen songs over two hours, which was still only a fraction of the 152 entries he’s notched on Billboard’s Hot R&B/Hip-Hop Songs chart since 1996.

“We got a million of these,” he said after doling out a few verses of “On to the Next One” — not bragging so much as explaining.

Having earlier visited stadiums in London, Paris and his hometown of New York, the 56-year-old is in Inglewood this weekend as part of what he’s calling JAŸ-Z30: a yearlong celebration of himself timed to the 30th anniversary of his debut album, “Reasonable Doubt,” and the 25th anniversary of his commercial high point, “The Blueprint.” Last month, HBO premiered an 8-part docuseries in which Jay-Z combs through the minutiae of his songwriting with the producer Rick Rubin; any day now, the rapper is expected to announce that he’ll return to SoFi in February to headline the halftime show at Super Bowl LXI.

That’s a lot of action for an artist who’s spent much of the last decade in éminence-grise mode — Jay-Z’s most recent solo album, “4:44,” came out in 2017 — but he seemed in fighting trim Friday, moving nimbly through the songs that made him a superstar and helped put hip-hop at the center of pop music. He was backed by a muscular live band (complete with horn players and a string section) that could push the music toward plush soul, sticky funk or crunching hard rock; “99 Problems,” in particular, made you think about how funny it’ll be, if indeed Jay-Z ends up at the Super Bowl, to see a rapper bring big guitars back to an event that rock fans love these days to lament.

Jay-Z’s daughter Blue Ivy joined him to play piano during “The Story of OJ” and “Dead Presidents II”; he beamed as she walked offstage afterward — a moving vision of fatherly pride. He also brought out Scarface, the veteran Houston MC, to do “This Can’t Be Life” and Scarface’s Geto Boys classic “Mind Playing Tricks on Me.” A pair of OGs still competing in a young man’s game, the two traded compliments before parting: “Jay-Z is a killer,” said Scarface, whom Jay-Z hailed as “one of the best writers of any genre.”

With a set list that jumped freely among albums and eras, the concert felt a little scattershot; it wasn’t always clear what story Jay-Z was trying to tell about his life and career beyond the glorification of his success. And you have to wonder how a man who’s found work as an event planner — booking the halftime show falls under the purview of his Roc Nation company — could end the night so anticlimactically with an appearance by a past-his-prime DJ Khaled. (It didn’t help that many in the audience were anxiously awaiting Jay-Z’s wife, Beyoncé, who performed with him at Yankee Stadium but didn’t show on Friday.)

The evening’s emotional peak came maybe two-thirds of the way through in “Never Change” and “Song Cry,” two tracks from “The Blueprint” written by a guy in his early 30s struggling with how — or whether — to hold onto his complicated past. That he performed them here as a middle-aged billionaire proved he figured it out; that they were so lush with the pain of nostalgia proved he remains an artist.

LAS VEGAS — The Strip is broiling on a recent afternoon, but it’s cool and dark inside Mary J. Blige’s dressing room at the Park MGM.

As a humidifier moistens the dry desert air, the 55-year-old R&B star sits on a sofa wearing a brown jumpsuit and matching gaucho hat; through the walls we can hear Blige’s band sound-checking for her My Life, My Story residency, which launched in May and will pick up again Friday night for shows through Oct. 31.

In some ways, Las Vegas is a funny fit for the Queen of Hip-Hop Soul, who’s been transforming pain into music since her 1992 debut, “What’s the 411?” Yet her stay in this glittering showbiz mecca comes amid a season of flower-getting for Blige: Two years ago, she was inducted into the Rock & Roll Hall of Fame; two years before that, she played the Super Bowl halftime show and landed a nomination for album of the year at the Grammy Awards.

“It definitely feels like people are taking notice of the fact that Mary J. Blige is one of the most important performers in R&B history,” she says. “I opened up a lane that hasn’t been closed yet. Female after female after female after female continue to do what Mary J. Blige has done and still does.”

Who opened that lane with you?
Back in the ’90s, when we first came out, it was myself and SWV that were really, really strong. Then there was 702, then Jazmine Sullivan and SZA and Beyoncé, and now right down to Summer Walker, who’s singing her truth.

That’s how you define what you do.
I’m not a great singer because I can sing better than everyone — I’m a great singer because I sing from my heart. Bono gave me that jewel. When Hurricane Katrina happened, we were doing [U2’s] “One,” and Bono was like, “Don’t worry about singing on key — people aren’t moved by you singing on key. What makes you a great singer is how you make them feel.” Not all of us are like the eighth wonders of the world — Aretha Franklin or Chaka Khan or Whitney Houston. They have pitch-perfect and they have emotion.

I saw Chaka Khan the other night and was thinking about how, even now, you never know where her voice is about to go.
She’s Chaka Khan — there’s nothing else you could say, really.

Why’d you cover “Sweet Thing” on “What’s the 411?”
First of all, when I was growing up, my mother played “Sweet Thing” all the time — it was our favorite song. So when I got to Uptown Records, Andre Harrell, the CEO, he was like, “You should do ‘Sweet Thing.’” I was like, “I don’t wanna do ‘Sweet Thing’! Chaka Khan could really sing — I can’t sing like that.” But he said I could do it, so I went and did the song and they all went crazy over it. My fans who didn’t know Chaka Khan, they thought it was my song. Same with Rose Royce’s “I’m Going Down” — to this day, a lot of people don’t know that’s a remake. I was afraid of both those songs. But I wanted to sing “I’m Going Down” all my life because I heard the song when I was 5 years old from the “Car Wash” soundtrack.

Tell me about your routine in Vegas. You stay on the Strip or you have a house somewhere?
I have a house out here. I’m not staying here — this is a lot. So I go home after I finish my performance, and I get ready for my performance tomorrow: I rest, I drink water, I do whatever I need to do. Then it’s the same thing: I come here, go into glam, do my meet and greet.

Get the humidifier going.
I got a steamer that I actually pull on over my mouth. Then I do my warmups, relax, keep my mind clear of any nonsense.

How do you think about doing your thing in a town built on glitz?
Mary is not the slickest Vegas person. But you can let people see that you’ve evolved — that you wear gowns now.

Would 19-year-old Mary be surprised to see her future self in a gown?
Hundred percent. Nineteen-year-old Mary was all tomboy — all baggy everything. Right now, I barely want to wear a gown, this Mary right here. But I’ve actually grown to like some of it when it looks good.

Did you look at anyone else’s residency when you were putting yours together?
I saw two people’s shows, and I said, “That’s not it.”

Shows in Vegas tend to be on the shorter side. The casino wants people back out there gambling.
I got 90 minutes — it’s a lot of time. People are very happy, but they’re standing there like they want more. I’m like, “I did 90 minutes! I don’t know how much more y’all want from me.”

Silk Sonic’s residency here was a no-phones show, which Bruno Mars told me was his attempt to preserve the freedom to make mistakes. Does it bum you out as a performer to know that everything winds up on the internet?
I don’t care about that at all. Social media, it’s bull—. You know what’s gonna happen — you know they’re gonna say, “Oh, her jaw is swollen.” Whatever. As long as you live truthfully, what they’re recording doesn’t matter.

In a recent interview with Fat Joe and Jadakiss, you talked about keeping your romantic partner a “mystery man” to the world. I wondered how you came to the decision not to make everything available to the public.
Because for so many years it has all been available. What you know already is what you know — I’ll elaborate on that. But what you don’t know, you will never know. I think I’ve given a lot, and it’s important to have something for myself. Nowadays, people just take things and ruin it for you. So if you have something beautiful, hold onto it, keep it to yourself. You have to protect the person that you’re with as well, because they don’t deserve to get beat up for something someone else did. I protect the ones I love — I’m not having anybody speaking ill about my family or the man that I love. I’m too old for that. Early in my life, if social media was around in 1991, I’d have been on that s— all day, cursing and going nuts on people.

Mary J. Blige performs during halftime of Super Bowl LVI at Inglewood’s SoFi Stadium in 2022.

(Robert Gauthier / Los Angeles Times)

We were talking before about your accolades. Did the Rock Hall mean anything in particular to you?
It was important to me because those things don’t happen to us.

To Black women.
Yes. It happens to rock ’n’ roll stars every day, and they’re in their grave — there were people in their grave that they were honoring when I went. So when it happens to Mary J. Blige or Chaka Khan or Aretha Franklin, we have to honor that and raise it up. That’s a big deal.

Did Las Vegas feel like a place open to Black women?
I’m trying to think of what Black females I’ve seen do Vegas.

Mariah Carey was here. Toni Braxton had a show.
Yeah, but like me? But you know what I love? It’s time. And how I know it’s time is because my fans went up. When I made the announcement, they was going crazy — they still going crazy. I’m probably the first to open this door, and next it’ll be somebody else. You better believe they on their way. “Oh, Mary doing Vegas? I’m doing Vegas too.” That’s how it goes: “Mary did her hair blonde? I’m dying my hair blonde too.” That’s how my whole life has been, even actually before the music business.

Nosy question, but what’s an aspect of financial comfort that you especially enjoy?
Flying private — that’s the best one for me.

Getting to bypass the grind of travel.
That’s what I love about Vegas, because it’s not like tour. Tour, it’s a lot.

Are you soft now?
Probably a little spoiled.

Last one: Name an artist that meant a lot to you when you were young that might surprise people.
There were so many. I mean, Earth, Wind & Fire —

Everybody loves Earth, Wind & Fire.
But that “Way of the World” song — that really does something to me. We loved George Michael — George Michael was always one of our favorite artists. Duran Duran, come on. Oh, “Everybody Wants to Rule the World” — Tears for Fears. And Hall & Oates! [Sings] “Private eyes, they’re watching you.” Ambrosia. The Eagles. I could keep going.

I didn’t expect you to hit me with Ambrosia.
They were so soulful — I just got goosebumps. And Queen. That’s one of my favorite movies — “Bohemian Rhapsody.”

Who should play you in a movie about Mary J. Blige?
She wasn’t born yet.

Michael Gray, who played the teenager who could turn into a superhero in the 1970s live-action Saturday morning children’s TV series “Shazam!,” has died. He was 75.

Gray died Oct. 16 from natural causes in Palm Desert, a representative for the actor announced Thursday. No other details were provided.

Based on the comic book superhero Captain Marvel, who first appeared in an issue of Whiz Comics in 1939, “Shazam!” aired for three seasons on CBS from 1974 to 1976. Gray starred as Billy Batson, a teenager who could transform into a grown-up superhero by saying the magic word “Shazam!” In his enhanced form, Captain Marvel possesses powers such as superhuman strength and speed, heightened intelligence and the ability to wield lightning. The character has since been renamed to Shazam.

“It was a lot of fun,” Gray said of the role in a 2012 interview with Fanboy Planet. “I didn’t know how much I would like it until years later when I found out how much of an influence my character was, and the show was, in people’s lives.

“There were such good moral values to the show,” he added. “I meet people 1792821573 who say, ‘You have no idea what you did for me as a child. You helped me get through life.’ … I didn’t know the show had that much strength and power back then.”

Born Sept. 2, 1951, in Chicago, Gray grew up in Miami Beach before making his way out west to pursue a career in Hollywood. He would frequently grace the covers of teen pop magazines, including Tiger Beat, thanks at least in part to his manager Charles Laufer, the magazine’s publisher.

“The teen idol angle was orchestrated to some degree,” Gray said during a Q&A event in 2012, according to Comic Book Resources. “I was interviewing for ‘The Brian Keith Show’ with Warner Brothers, and they also owned a news company that produced a lot of magazines. They wanted me to be the next David Cassidy. I was on the front cover of ‘Tiger Beat’ and it worked.”

Among Gray’s earliest screen credits were appearances on shows such as “Room 222” (1969), “The Flying Nun” (1970) and “Marcus Welby, M.D.” (1970). His first recurring role was on “The Little People,” also known as “The Brian Keith Show,” where he played a student doctor named Ronnie Collins. Gray also appeared in an episode of “The Brady Bunch” as Marcia’s boyfriend, Jeff.

Gray left acting not long after his run on “Shazam!” after feeling typecast in the roles that were offered to him. His later pursuits included work in children’s theater education and men’s fashion and owning a West Hollywood flower shop.

More recently, Gray’s legacy from “Shazam!” pulled him back into Hollywood. He voiced a version of himself as Sterling Archer’s childhood hero in four episodes of FX’s adult animated series “Archer” from 2015 to 2019. He also appeared in a cameo in the 2023 film “Shazam! Fury of the Gods” where he interacted with the latest incarnation of the superhero played by Zachary Levi.

Gray is survived by his wife, Stacy Benon Gray; his stepchildren Ryan Cooper and Laurel Cooper; and son-in-law Lee Barker.

The first Israeli elections in four years have brought with them a record number of first-time voters – most of whom are keen to make their voices count.

But while youth around the world are leaning to the left, young adults in Israel are heading in the opposite direction, according to recent polls.

The Israeli Central Elections Committee says more than half a million voters were added to the roll since the last elections in 2022. They are aged between 18 and 22 and polls show that 80 percent of them plan to vote in the October 27 legislative election.

Although their political activism and engagement in the public sphere are limited, a survey by the think tank, Israel Democracy Institute (IDI), found that a majority of young Jewish Israelis feel that the ballot box can influence reality and shape their country’s future.

But what does the future they hope for look like?

Around three quarters of Jewish first-time voters polled identified as “right or centre-right”, according to a recent poll for Israel’s Channel 12. That’s significantly higher than the rest of the Israeli population, which has already been shifting to the right for years.

Now the title “Generation Right” is being used to reference Israel’s Jewish youth – though not the Palestinian citizens of Israel.

Mainstreaming far-right views

The first Israeli elections since the October 7, 2023 attack are contentious and polarising – and they will be decisive for Prime Minister Benjamin Netanyahu’s political survival and his right-wing approach.

Critics of the longest-serving PM in Israel’s history accuse him of supporting “far-right” politicians to stay in power. They say that his handing of key government positions to extreme politicians such as National Security Minister Itamar Ben-Gvir and Finance Minister Bezalel Smotrich helped empower those camps and make their policies mainstream.

In 2017, Smotrich laid out his position for the future of Israel where the Israelis are the only ones who will have self-determination, whereas Palestinians will have to emigrate, stay without political representation, or be treated as “terrorists” if they refuse either of the two options. In 2022 he secured a portfolio in the defence ministry where he facilitates land grabs and empowers the illegal settlement enterprise in the occupied West Bank.

Indeed, this incitement and view of Palestinians has become more prevalent.

A recent video published by the Israeli satirist Lior Schleien shows a young man saying he would kill Arabs in Israel.

Schleien, a left-wing activist, has been visiting schools and speaking with young people often before their army service. His videos are giving Israelis, and the world, a chance to understand the younger generation.

In the video, Schleien asks the student how he proposes to kill Arabs. The answer: “Give me a knife and I will do it.”

Schleien asks whether October 7 changed his views. “I’ve always been racist,” the young man answers, adding that Arabs shouldn’t be allowed to live in the state of Israel. Even though the young man’s face is slightly covered, shielding his identity, Schleien removed the video after a public backlash.

In another town hall meeting, Schleien addresses the question of whether there are innocent people in Gaza. When asked if Israel is committing a genocide in Gaza, Schleien denies it, only for a female student to ask, “Do you think it should be done?”

Schleien looks unimpressed, but the student assures him that she is asking a serious question. Her friend, next to her, chuckles.

Speaking the language of the youth

At a recent meeting of young supporters of the left-leaning Democrats party in Tel Aviv, 18-year-old Gili told the AFP news agency that she believed Israeli society had abandoned the idea of peace.

She said the scars of October 7 instilled fear among people, making it hard for them to believe peace could ever be achievable.

While the October 7 attack may have accelerated the country’s push to the right and far-right, many say Israeli society has been heading this way for years.

A survey by the Israeli newspaper Yedioth Ahronoth shows more than 16 percent of new voters plan to cast their ballot for far-right parties.

From a large field in southern Israel, 18-year-old Amihai was wearing a shirt with far-right minister Ben-Gvir’s photo. The event he was attending called for the establishment of illegal Israeli settlements on Palestinian territory.

Talking to other young activists from a place overlooking the destroyed parts of the Gaza Strip, Amihai said he plans to vote for Otzma Yehudit, a party led by Ben-Gvir, who himself lives in an illegal settlement in the occupied West Bank.

Although Ben-Gvir did not pass the threshold of the 2020 elections, he was given a central position in the 2022 government of Netanyahu.

In the years since, the minister seems to have learned to speak the language of Israel’s youth. Despite having been convicted of supporting “terror” organisations as well as other criminal offences, Israeli surveys show that a chunk of his potential supporters in this election are first-time voters.

Ben-Gvir has also made sure to use his position to lobby for his “I am not mincing my words” policies.

As a minister, he often visits Israeli jails and detention centres to threaten Palestinian prisoners as well as international activists – all the while making sure that it is caught on camera.

His videos often go viral, a move that has earned him more youth support – and not just from his usual base of settlers, such as the violent “Hilltop Youth”, some of whose members have been sanctioned by the European Union and the United Kingdom.

The IDI survey found that social media and messaging apps such as WhatsApp and Telegram are key sources of information – often exposing young people to political content through their feeds rather than through active searching.

It is a language Ben-Gvir understands.

Andy Burnham’s first Gogglebox appearance!

A sentence we never expected to say. Tonight, PM Andy Burnham and Steve Rotherham will make their debut on the show, sitting at 10 Downing Street. 
The programme airs in aid of Stand Up To Cancer, and Andy is no stranger to charitable causes. Throughout his tenure as Mayor of Greater Manchester, Andy often threw himself into work, helping those around him.

IT might seem too early to think about the New Year, but if you want to ring in 2027 with style, you’ll need to act fast.

Tickets for the spectacular London firework display go on sale today – and they’re bound to sell out quickly.

Tickets for the show will be released in two batches with the first on sale midday today.

Tickets are priced between £20 to £55 (excluding the booking fee) and one person can buy up to four tickets.

The price of tickets depends on the viewing area which is split into different categories.

The category A viewing area includes places like Waterloo Bridge and Westminster Bridge – these tickets are priced at £55.

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Meanwhile, Category B is priced at £40, with spots like behind the London Eye and the stretch of Victoria Embankment from Golden Jubilee Footbridge to Temple Avenue.

It also includes accessible areas which is on Albert Embankment.

Anyone who has a London postcode is in luck as locals get a £20 discount. 

Last year around 100,000 ticketholders attended the event and around 10million people watched on TV.

If you miss out on the first batch of tickets, a second lot will be released later on.

However a date for this hasn’t been announced yet.

For more information and to buy tickets, head here.

What’s it like to go to London’s NYE fireworks?

Travel Reporter Cyann Fielding reveals that the evening has in store…

“Key advice? Be prepared.

“Get your group chat organised now – you can buy up to four tickets each, so if you want more you’ll need a few people online.

“And whatever you do, do not refresh the page – you will lose your place in the queue.

“The NYE fireworks for 2023 were my first and I can’t deny I was impressed.

“There were also no queues and no crowds once in the zone, allowing us to secure a great spot to watch the breathtaking 12-minute display.

“If going, definitely opt for one of the Category A zones – these have the best views of the fireworks, whereas the Category B zones are often interrupted by skyscrapers.

“Make sure you do head there for 8pm as it isn’t the only New Year’s event on, which means the tube is often packed.

“And bear in mind, the station closest to your gate may be closed to manage the flows of people better.

“As for what to wear, you will get warm but do make sure you have layers as the breeze from the river is chilling.

“Don’t worry about taking a chair – you’ll dance as you wait.

“To save some money though, do take some tinnys – small cocktail cans are great as they don’t weigh much or take up too much room in a bag.

“If you get hungry, there are plenty of food stalls around.”

When William Jackson Harper moved to Los Angeles to star in NBC’s “The Good Place” a decade ago, he himself felt out of place.

“As an actor, I was like I don’t know if this is where I’m supposed to be,” says Harper, who earned an Emmy nomination for his role as Chidi Anagonye, the show’s endearingly panicked and indecisive professor.

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

“People felt more finished there,” he says of L.A. “I felt like people had sort of come into their appearance, they knew what they were selling. And I was like, you know, I’m much more of a theater guy, New York is probably where I’m going to land.”

He adds, “So I had this idea that I was going to get to L.A. and everyone was just going to laugh at me.”

Quite the opposite happened. Harper leaned into the L.A. experience, exploring the sprawling city, particularly its nature, and connecting with old friends on a deeper level. He soon grew to appreciate it — so much that he continues to split his time between L.A. and New York alongside his wife, Ali Ahn, who is also an actor.

Harper now stars in the dramatic anthology series “American Hostage,” which re-creates the true story of Tony Kiritsis, an Indianapolis man who, in 1977, kidnapped a mortgage broker whose family Kiritsis blamed for his own financial hardships. During a 63-hour standoff, Kiritsis demands that Fred Heckman, a beloved radio reporter played by Jon Hamm, interview him live on air.

“When that script came across my desk, I was like ‘This is insane,’” Harper says of the show, now streaming on MGM+. He was excited to portray Ben Hairston, a reporter and Heckman’s mentee, who attempts to help him navigate the challenging situation.

Harper says he’d been interested in being part of the show set in the late 1970s. Another draw? “I was looking forward to just rocking a mustache,” he says with a laugh. “I was looking forward to just looking like my uncles.”

Here’s how Harper would spend his perfect Sunday in L.A., from a morning hike at Griffith Park to shopping for more French tour jackets at a vintage store in Silver Lake.

7 a.m.: Start with an intense workout

Even though I typically don’t work out on Sundays, sometimes I get a wild hair and do it anyway because I enjoy it. I’ll go to a class around 7 or 8 a.m. I go to Training Mate a lot because the instructors are fun. They’re all, like, beautiful people, but they are dorks, which I find really endearing. They’re really sweet and encouraging. So we’ll do a really tough 45-minute workout an I’ll probably want to go for a hike after that. Griffith Park is one of my favorite places anywhere, so I’d kind of march around there for a couple of hours. I don’t always do the hard [route], I’m already kind of cooked. I just want to be in nature a little bit.

11 a.m.: Bond with friends over breakfast

Then it would be time to eat. I have this tradition whenever I’m in L.A. of meeting with a couple of friends of ours at Fred 62 on Vermont [Avenue]. I’ll get a tofu breakfast enchilada and then we’ll just sit there and talk for a couple of hours. The waiters remember my order even if it’s been months. Or my friends and I will go to some place like All Time, which is really good. There’s always a line and everyone is very done up and I feel really dirty and underdressed when I go, but f— it. It’s like deal with it. I’m old. I can’t be out here flexing.

2 p.m.: Nap to recharge for a shopping spree

All those things make for a powerful wave of sleepiness, so I’ll take a nap. Usually when I have days off like this, I have a shopping addiction, so there’s a few stores that I’ll probably wind up hitting. One of them is this place called Golden Age that has all these old French tour jackets. I have so many [laughs]. I rock those a lot. So I’ll go there, look around and abuse my bank account a little bit. Then there’s this other place on La Brea called General Quarters. It’s got a bunch of work wear stuff.

6 p.m.: Watch a movie at an old-school theater

After that, I might go see a movie at Los Feliz 3. It just reminds me of the movie theaters I grew up going to. I love an old-school, no frills theater that shows cool stuff.

8:30 p.m.: Have a delicious pescatarian dinner

If we are not cooking, we’re going out to eat somewhere. There’s this place in Eagle Rock that we like a lot called Little Beast. One of my favorite restaurants is Bavel. Every time I go there, I’m just like I don’t deserve this meal. I don’t deserve these cocktails. I’ve ordered something different every time. My wife and I are both pescatarian, so we usually load up on the veggies and pick whatever fish dish they have.

10:30 p.m.: Time for bed

After that, we’ll go back home, give our dog Chico another walk and watch Netflix until we fall asleep. My wife falls asleep first. When we are together, I’ll fall asleep earlier between like 11 p.m. and midnight. When I’m by myself, I’m up till 2 or 3 in the morning. I’m just up.

A fifth baker has left The Great British Bake Off tent after failing to impress Paul and Nigella during Dessert Week

The latest contestant has been eliminated from The Great British Bake Off after a major change.

The Channel 4 show is already in its fifth week, with the remaining hopefuls taking on Dessert Week during Tuesday’s Bake Off episode (October 20). For the first time in the competition, the bakers faced a staggered-start signature challenge involving self-saucing puddings.

The bakers didn’t know which order they would start until their names were called by hosts Alison Hammond and Noel Fielding. The change to the task also meant they couldn’t look to one another for guidance on what to do if they got stuck.

Judge Nigella Lawson then set the technical challenge, asking contestants to use ingredients from The Gingham Pantry to personalise their creations. In just five minutes, each baker had to choose what they needed to complete their bakes, and if they forgot anything, they were left struggling down the line.

Finally, the contestants attempted to serve up a selection of classic retro puddings for the showstopper, and it proved a tricky feat to master.

It was the end of the road for one baker as Alison Hammond and Noel Fielding announced the results of this week’s Bake Off. Connie won Star Baker before Yannis was announced as the fifth contestant eliminated from the series.

Following the news of his exit, the paediatrician, who was born in Vienna and lives in London, hugged his fellow contestants and said: “Thank you, it has been a pleasure. I grew up watching this programme and being here for five weeks is surreal.” He added: “I will be very proud of that and it’s been absolutely wonderful.”

Fans of The Great British Bake Off were “heartbroken” to see Yannis leave the tent. Taking to X, one viewer wrote: “YANNIS NOOOOOO #GBBO”, followed by a string of broken heart emojis, while another echoed the sentiment: “Poor Yannis”, along with broken heart and crying face emojis.

A third chimed in: “Ooh. Wasn’t expecting Yannis to go #gbbo”, as another commented: “Awh poor Yannis, but the right person to go tbh. Until next week tho #GBBO.”

“Gutted for Yannis but yayyyy star baker auntie Connie!!! #gbbo”, added another.

The Great British Bake Off airs Tuesday at 8:00 PM on Channel 4.

U2 is coming to SoFi Stadium for the first time — and performing during a Rams game for the first time in nearly 25 years.

The legendary Irish rock band will headline the halftime show for the NFL’s first Thanksgiving eve game as the Rams host the Green Bay Packers on Nov. 25. The game will stream live on Netflix.

The only other time U2 has performed at halftime of an NFL game was at Super Bowl XXXVI on Feb. 3, 2002, when the New England Patriots defeated the then-St. Louis Rams 20-17 at the Superdome in New Orleans.

“There’s a reason U2 has headlined stadiums for decades: they don’t just perform, they deliver iconic moments audiences remember forever,” Netflix co-CEO Ted Sarandos said in a statement. “We’re thrilled that they’ll bring that same magic to the NFL stage on Netflix. It’s going to be an unforgettable night for football fans and Netflix members worldwide.”

U2’s halftime show will feature special guests, the streaming service said.

Netflix has featured big-name halftime performers during some of the previous NFL games it has streamed, including Beyoncé on Christmas day in 2024 and Snoop Dogg on Christmas last year.

U2 — which features singer Bono, lead guitarist the Edge, bass player Adam Clayton and drummer Larry Mullen Jr. — celebrated their 50th anniversary last month with a concert. The group performed at Mount Temple Comprehensive School, where the four members were students when they first got together as a band in 1976.

The band has won 22 Grammy Awards and was inducted into the Rock and Roll Hall of Fame in 2005. Its 16th studio album, Carnival de Luz, is set to drop on Nov. 13.

Jenna Dewan is “so excited” for her next performance on “Dancing With the Stars.”

The “Rookie” actor appeared in a short video posted Sunday to the show’s Instagram Stories with her temporary partner, Alan Bersten — who is filling in for suspended pro Val Chmerkovskiy — to promote their upcoming routine.

“Hi, everybody,” Dewan said while standing beside Bersten during rehearsals. “It’s ‘Dedication Night’ and we are dancing a Viennese waltz to ‘Unchained Melody’ by the Righteous Brothers, the greatest, most romantic song ever.”

The “Step Up” star shared on social media that she is dedicating this dance to her mother.

“My mom has always been my biggest cheerleader,” Dewan wrote in her Sunday Instagram post. “The one who believed in me before I even knew what was possible for myself. Who encouraged me to dream big, to keep going, and most importantly, to never lose sight of who I am along the way.”

She added: “There’s something so beautiful and full circle about getting to honor the woman who first encouraged my love of dance, through the very thing she helped me fall in love with.”

The short teaser was shared shortly after it was announced that Chmerkovskiy would be suspended for a week for posting a message on TikTok that seemed to reference Will Smith‘s infamous 2022 Oscars slap. That incident involved Smith rushing the stage and slapping host Chris Rock with an open hand after the Oscars host made jokes about Jada Pinkett Smith.

“Keep my wife’s name out your … mouth!” Smith shouted at Rock afterward.

Chmerkovskiy’s since-deleted TikTok post appeared to be in response to judge Carrie Ann Inaba‘s harsh critique of the performance by pro Jenna Johnson, his wife, and partner Harry Shum Jr. during Tuesday’s “Super Bowl Night” episode of the show.

“You almost saw Fresh Prince enter the ballroom last night,” Chmerkovskiy reportedly wrote.

“DWTS” producers BBC Studios responded with a widely reported statement that the “well-being of everyone who works on Dancing with the Stars is non-negotiable. Val’s social media post was inappropriate and does not reflect the values or standards expected of anyone connected with the show. As a result, he will not participate in next week’s show.”

Chmerkovskiy has since apologized for his remark, saying in a statement provided to Deadline that he had merely reacted on “instinct” to “defend [his] wife.”

“In a moment where my instinct was to defend my wife, I made a poor decision to reference a meme to ‘keep my wife’s name’ out of the conversation, without stopping to think through what else that reference could imply, which was genuinely never my intention,” the statement read. “Carrie Ann certainly didn’t deserve to get caught in the middle of my bad judgment, and I hate that she was.”

The dancer also reportedly posted an apology to his Instagram Stories on Thursday.

“I want to apologize from the bottom of my heart for my recent post,” he wrote. “I have reached out to Carrie Ann to apologize directly and personally, and I also want to apologize publicly as I understand my words affect so many outside of our internal DWTS family.”

Bersten, who is filling in this week as Dewan’s partner, was previously paired with celebrity chef Giada De Laurentiis before they were eliminated earlier in the season.

With more than one million votes counted, about 76 percent supported remaining in Canada.

Alberta residents have voted to remain ⁠part of Canada in the province’s first-ever referendum on separation, in a much-needed win for Prime Minister Mark Carney as he ‌attempts to unify the country amid an ongoing trade war with the United States.

With more than one million votes counted, about 77 percent supported remaining in Canada, compared with 23 percent who backed beginning a process that could lead to separation, early results showed on Tuesday.

The vote was not a direct referendum on independence but would have set oil-rich Alberta on a path towards a future vote on separation from Canada.

Carney welcomed the result and said Albertans had made a “clear choice” in favour of unity.

“They chose unity, to build together, and to take care of each other,” he said in a statement on X.

Jeffrey Rath, a top leader of the secessionist Alberta Prosperity Project, told reporters his push for an independent Alberta will “absolutely” continue, despite the result from Monday’s vote.

“We’ve learned a lot of lessons from this fight,” he said.

Alberta Premier Danielle Smith, a conservative, said she voted against independence but called the referendum to settle an issue that has divided the province.

She has said a win for the federalists would close the secession question.

Alberta has the world’s fourth-largest proven oil reserves, and much of the secessionist momentum has been driven by anger over oil industry management.

Smith has blamed Carney’s predecessor Justin Trudeau for igniting the secessionist fire, accusing him of trying to crush oil production to advance his pro-climate agenda.

Alberta’s independence push has also drawn sustained interest from the allies of US President Donald Trump, including Treasury Secretary Scott Bessent, who called Alberta Washington’s “natural partner”. Elon Musk, the world’s richest person and eminent Trump supporter, also posted on X that Alberta “should separate”.

Carney, who grew up in Alberta, has worked to improve relations between the province and Ottawa since taking office last year. He has partnered with Smith on advancing a new pipeline to export more Alberta bitumen overseas, a project considered a nonstarter during Trudeau’s tenure.

Young adult stories come in every imaginable flavor, and flavor combination, and several are present in “Phony,” premiering Tuesday on Hulu. Based on the four episodes (of eight) out for review, I am all in with this show, but as Doris Day so memorably sang, the future’s not ours to see.

Created and directed in part by Nick Paley (“Marcel the Shell With Shoes On”), it’s a mystery driven by an uncanny event, with the beating heart of a high school dramedy, in the sense that what is dramatic about adolescence is at the same time comical. (Given time.) Temperamentally, it’s closer to “Freaks & Geeks” or “Dazed and Confused” than, say, “Stranger Things,” but I also wrote “Robert Altman” in my notes.

To begin, we are in some mountainous slice of small-town Pacific Northwest, where the Canadian tax breaks call American producers across the 49th parallel and the landscape presses in from all sides. (A reference to Lewis & Clark College suggests the story is set in Oregon, but I can’t remember any other clues; also, it isn’t important.) It’s an ordinary world wrapped in mystery and sometimes mist, but it’s the ordinariness that gives the show its power as much as, or more than, the mysteriousness.

Sonny Cooke (Sam Nivola, from the third season of “White Lotus”) attends Delby High, where his mother, Ellen (Connie Britton), is the principal. This would be a nightmare for many teens, but for Sonny and Ellen, it’s more of a dream, as the two are unusually (which is not to say perversely) close. (There is no father in the picture, nor is one even mentioned.) He operates in the corridors as a kind of unofficial lieutenant to his mother, bringing cheer and care to his fellow students, spreading sunshine all over the place. This is a little strange, but he is not accounted a weirdo.

He has a nice girlfriend, Chloe (Mahaela Park), with whom he has just “decided to be official”; Ellen clucks at this — she’s a little protective. Sonny and Chloe call each other “Bobo,” and in a nice, authentic touch we see he has written that nickname in ballpoint pen on the white sidewall of his sneaker. As we open, Sonny and Chloe are planning to have sex for the first time; there is some comedy written around this. He’s the less mature, more nervous party. (He also has a tendency to fall over and bump into things.) His best friend, Vogel (Maliq Johnson), an injured basketball player, is miffed that he had to hear about this from Chloe and not Sonny, but not seriously and only for a moment.

Best friends Vogel (Maliq Johnson), left, and Sonny (Sam Nivola), who is trying to make sense of his feelings about his mom.

(David Astorga / Disney)

Driving to meet Chloe for their Big Night, after a rare argument with his mother, Sonny swerves to avoid a downed tree and drives into Bucket Pond, where an official sign commemorates the many deaths that have occurred there. When he wakes from a coma a week later, he doesn’t recognize Ellen, and you won’t quite either. However it’s been accomplished, by makeup (or an absence of makeup), prosthetics, digital manipulation, hypnosis or some combination of the above — and by acting, of course — this alteration of Connie Britton, a face we know well, is just enough off to be incredibly creepy. (What have you done with Connie Britton? we want to ask.) There is nothing more frightening than when the familiar starts acting strange, in movies or in life. Sonny’s symptoms mirror an actual condition, Capgras syndrome, which no one here mentions, though to be fair, he hasn’t told anyone who might offer that diagnosis, and is too freaked out to look it up himself. Only Sonny and the viewer notice the difference, which suggests that he may be wrong, or, alternatively, that everyone else is.

Completing a not-quite Scooby Gang are Mallory (Grace Brennan), returning to public school after three years of homeschooling, and her cousin Weldon (Colter Lee), a deadpan original turn on the nerd. Sonny and Mallory shared a kiss once, on a class camping trip, but for … reasons, they meet again on tentative terms. Despite or perhaps because of her offbeat upbringing (religious parents), Mallory is the embodiment of the cool girl who doesn’t need to demonstrate how cool she is, and perhaps doesn’t even know or, more to the point, care. In a series thoroughly well cast (by Jessica Kelly and Lisa Parasyn), Lee and Brennan, especially, stand out as originals, their performances drawn from life, or some private corner of their imagination.

Weldon, who is ready to credit Sonny’s story — he believes, for example, that Avril Lavigne died and was replaced by “someone named Melissa, who has a clubfoot” — connects him with Sharla (Meera Syal), a private investigator he knows from an online forum. “She’s into alternative knowledge. So cryptids, One World Order, face peelers…”

“I know what it’s like to be called crazy,” says Sharla, “but all you really need is one person to believe you.”

“Or two people,” adds Weldon.

“Yep, two people. Two weird people.”

Much of what makes “Phony” special happens alongside the main plot, or doesn’t involve any plot at all — it’s pure atmosphere, bits of background business and chatter in the school halls, and at a party in the woods that occupies much of Episode 4. (Nice use of long lenses by cinematographer Andy Rydzewski.) Party scenes are a yardstick by which I measure the authenticity of a teenage movie — are these characters acting their age, or have they been designed to?

With only four episodes available for review, and nothing revealed, it’s impossible to say where the show is going — is it science fiction, or fantasy, or some super-complicated conspiracy, though why such a thing would be constructed around these people is beyond me. There’s a chance it’ll be brilliant, a chance it’ll be less than brilliant, and a greater than zero chance it’ll be dumb, but given the résumés of the co-showrunners Paley and Anthony King — whose credits include “Search Party,” “The Afterparty” and “Broad City” — I expect it to be interesting. Everything so far is so well done, I don’t mind how it ends; I don’t want it to end at all.

Tensions keep rising in the iconic house as housemates continue to clash

ITV Big Brother fans have issued the same complaint seconds in tonight’s explosive episode.

Tensions continue to bubble over in the iconic house as a clear divide causes frictions amongst the housemates. Just last night (October 18) saw Catrin left in tears after she expressed her frustrations over comments made behind people’s backs.

When Twinks mentioned there was a hierarchy in the house, things turned sour when Philip and Rochelle confronted the comments made. Twinks was also seen in tears as she admitted to Big Brother she was struggling in the house, with Philip admitting he was no longer going to talk to the newcomer.

The explosive scenes come after Rob’s live eviction on Friday, October 16 after he was voted the fifth housemate to leave the Big Brother house following a public vote.

Tonight’s episode brought yet more drama and chaos with just weeks to go until the final. However, just seconds in tonight’s instalment (October 19), viewers issued the same complaint when a preview was shown.

The episode had barely started when a preview hinted more drama to come, especially between Omar and Rhianna as they appeared to call time on their relationship.

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Taking to social media, viewers threatened to switch off their television screens over the Rhianna and Omar-focussed episode, with many growing tired of their relationship. One person wrote: “An episode centred around the showmance? I might have to check out lol.”

Another said: “Cracks are definitely appearing between Omar and Rhianna”, as a third added: “The Omar Rihanna love story is so boring is that really the only thing that’s been happening the last few days?”

A fourth stated: “Not looking forward to this episode just knowing that Omar and Rhianna will have more than 5 seconds of airtime! Annoyed already!”

A fifth slammed: “Not another Omar and Rihanna edit please”, a sixth echoed: “Omar and Rihanna double eviction WHOS WITH ME.” One person stated: “Looks like this episode is about Omar and Rhianna.”

Viewers have previously commented that the pair are better suited apart as one person said: “Rhianna I love you dearly when will you finally be done with Omar.”

Taking to Instagram though, one viewer shared a reminder on this year’s cast, adding: “Reminder. It’s a TV show. No one’s been set up. They are willingly taking part in a show. You’re welcome.”

Big Brother continues tomorrow at 9pm on ITV2 and ITVX

What’s the opposite of a victory lap?

One answer arrived this year in the form of “Music, Fashion, Film,” Charli XCX’s bracing follow-up to 2024’s Grammy-winning “Brat.” An emotionally complicated dance-pop album about the relationship between power and vulnerability, “Brat” struck a nerve in a weird cultural moment and finally brought Charli the kind of stardom she’d been openly seeking for ages. In the LP’s immediate aftermath, the English musician hungrily scooped up the spoils of her success — playing Coachella’s main stage, starring in a highbrow mockumentary, soundtracking Hollywood’s latest take on “Wuthering Heights.”

Yet “Music, Fashion, Film” wonders what it all meant. It’s a digitally enhanced rock record — probably 2026’s best thing-with-guitar — that cycles through thoughts on ambition and trend-chasing before landing with a moving sense of serenity on the idea that everybody dies and takes their accomplishments with them.

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“No One Lasts Forever” is the album’s final track, and Sunday night that was also Charli’s closer at Inglewood’s Kia Forum, where she headlined the second of two shows over the weekend.

Structurally, the concert bookended songs from “Brat” (for which she was accompanied by prerecorded tracks) with stuff from “Music, Fashion, Film” (for which a scuzzy live band backed her up). There were stray oldies too, including “Constant Repeat,” which she introduced as one of the first songs she wrote about her husband, George Daniel — “even though it’s not exactly truthful,” she added — and the landmark hyperpop cut “Vroom Vroom.”

She also did “House,” a spooky goth-folk song from “Wuthering Heights” that had her writhing on the stage in the white-hot heat of a single spotlight — a sex kitten turned scream queen (or perhaps vice versa). And she brought out Adéla, the Slovakian singer famously booted from the reality show that created Katseye, to do her viral hit “Nicole Kidman,” which is just one of a handful of rough-edged pop hits this year that demonstrate “Brat’s” lasting influence.

Indeed, what was illuminating about the middle of the show — basically a half-hour-long club night with strobes cranked happily to here’s-the-seizure-you-ordered — was seeing how very un-tired Charli’s fans are of being pulverized by songs like “Club Classics,” for which she donned her Superman’s-cape sunglasses, and “Guess,” during which pairs of underwear rained down on the audience in a nod to the music video for the song’s remix with Billie Eilish.

Charli had opened with the new album’s “Rock Music,” in which she declares that “the dance floor is dead”; here, her sarcasm fooled precisely nobody.

My favorite part was the home stretch of tunes from “Music, Fashion, Film”: “Camera,” a startlingly frank confession of her movie-star aspirations; “Magic Metal Montana,” a deeply tender ode to her friend and collaborator A.G. Cook; “SS26,” a jittery electro-punk jam about “walking on a runway that goes straight to hell.”

I love the strange emotion in these songs — the feeling that you might as well say what you want because the only thing more embarrassing than taking a risk is not taking one.

At some point, Charli lit up a cigarette and waved it around like someone who’d discovered a critical truth. What were they gonna do — make her end the concert early?

Define early; better yet, define late.