And if you didn’t hear your name called, well, you’re feeling like you’re out there on the street behind the police barricade, hot and sweaty, wondering what happened to your dragons and how in this underwhelming Emmy season things could go so wrong.
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With Emmy submissions still down this year, there aren’t as many slots available to salute all the worthy work, leading to some sad omissions — which, for the sake of alliteration and search engine optimization, we’ll call “snubs.” There were also some surprises, some worthy, some about as welcome as the aftermath of a hot dog-eating contest on the Fourth of July.
Now that I’ve whetted your appetite, grab a donut (or a footlong) while I run down the morning’s notables.
SURPRISE: “The Bear” (comedy series)
OK, not that huge a surprise when a series nominated for its first three seasons, and winning for its first, snags another nod. But given the number of people complaining about the show’s pokey plotting, it was fair to wonder if “The Bear” would again make the cut for Season 4. The show dropped its final season three days after nominations voting ended and because things actually happened during this crowd-pleasing conclusion, it’s possible we might be seeing it again here next year too.
SNUB: Jeremy Allen White, “The Bear” (comedy lead actor)
While “The Bear” made the cut for series, the only cast member to join the party was Ayo Edebiri. Past winners White, Liza Colon-Zayas and Ebon Moss-Bacharach were left out, though all will have a shot at returning next year. Whether they will is open to question. Voters seem to have had their fill of the show.
Jeremy Allen White and Ayo Edebiri in “The Bear.”
(FX)
SURPRISE: “Your Friends and Neighbors” (drama series)
The Jon Hamm-led Apple crime drama failed to land any nominations for its first season outside a nod for main title music. Now moved from limited series to drama, it inexplicably landed a single nomination for its enjoyable-enough follow-up season — for the big prize, drama series. No other noms. Nothing for Emmy favorite Hamm. It’s almost as confusing as some of the plotting in the show.
SNUB: “Half Man” (limited series)
Richard Gadd’s limited series was provocative with its brutally violent look at male rage and unresolved trauma. But some voters I talked with found it so off-putting that they never made it past the first episode. Could be we’ve had our fill of toxic male behavior in the news without having to endure it on our down time too.
SURPRISE: Riz Ahmed, “Bait” (limited series / TV movie lead actor)
Ahmed created, wrote and produced this limited series about a struggling actor whose life is upended when rumors circulate he might be the next James Bond. His sharp comic timing and affecting vulnerability landed with voters.
SNUB: Cailee Spaeny, “Beef” (limited series / TV movie supporting actress)
OK, you didn’t like her character and you’re still afraid to drink orange juice after watching the show. But to nominate everyone else from the series and omit Spaeny? That feels like a case of Millennials and Boomers taking out their grievances on Gen Z.
Cailee Spaeny, left, with Carey Mulligan and Charles Melton in “Beef.”
(Netflix)
SURPRISE: Richard Jenkins and Joy Sunday (limited series / TV movie supporting actor and actress)
The weird and unpredictable “DTF St. Louis” had one last surprise for us, as voters indicated their enthusiasm for it by nominating not just David Harbour, Jason Bateman and Linda Cardellini, but also Richard Jenkins and Joy Sunday, who were terrific as the mismatched law enforcement partners. “DTF,” not “Beef,” might now be the limited series to beat at the Emmys.
SNUB: “Stranger Things” (drama series)
Nostalgia, it would seem, has its limits.
SURPRISE: Rufus Sewell, “The Diplomat” (drama lead actor)
He’s overly involved on the show, so why not at the Emmys, too?
SNUB: Kathy Bates, “Matlock” (drama lead actress)
Dirty birdies.
Chase Infiniti in “The Testaments.”
(Disney)
SURPRISE: Chase Infiniti, “The Testaments” (drama lead actress)
Infiniti was overlooked at the Oscars for her lead turn in “One Battle After Another,” but Emmy voters did right by her, nominating her formidable work in the sequel to “The Handmaid’s Tale.”
SNUB: Adam Brody and Kristen Bell, “Nobody Wants This” (comedy lead actor and actress)
Though Netflix’s rom-com nabbed a comedy series nomination, voters took the title to heart regarding its two leads, both of whom were nominated for its first season.
SURPRISE: Yahya Abdul-Mateen II, “Wonder Man” (comedy lead actor)
A show about a struggling actor navigating the indignities of auditions? No doubt voters found it relatable and Abdul-Mateen II made his anxieties and aspirations vivid.
SNUB: Jenna Ortega, “Wednesday” (comedy lead actress)
Wednesday’s child is full of woe.
Megan Stalter, left, with Robby Hoffman and Paul W. Downs in “Hacks.”
Stalter’s loud, boundary-pushing nepo baby Kayla on “Hacks” was divisive, but she coasted to her first nomination on the wave of goodwill surrounding the show’s final season. Cringe comedy enthusiasts are celebrating. Now we await a reprise of her jeans and white T-shirt red carpet look from last year.
SNUB: “Saturday Night Live” cast members (comedy supporting actor and actress)
Admittedly it’s a low bar, but “Saturday Night Live” was better this year, not that voters seem to have noticed. Bowen Yang failed to earn a nomination for his farewell season, ending a four-year streak. And breakout cast member Ashley Padilla was overlooked too, her comic timing apparently too absurd for voters’ tastes.
Hopes were high for “Widow’s Bay,” television’s best new comedy, which arrived late in the Emmy season — so late that its last three episodes weren’t eligible for consideration. But that didn’t stop voters from embracing it, giving the show 19 nominations, including one for Dickey’s turn as the gruff town hall worker who is the Spielberg of overhead projector presentations.
SURPRISE: Connor Storrie (comedy series guest actor)
HBO Max’s hockey romance drama “Heated Rivalry” wasn’t eligible for the Emmys because it’s a production of the Canadian TV network Crave, and the television academy requires the U.S.A. be part of a show’s funding to make the ballot. But star Storrie still received an Emmy invite thanks to his impressive comic turn hosting “Saturday Night Live” in February. The guest actor trophies are handed out during the Creative Arts Emmys, a week before the primetime show, but we’ll likely see Storrie and “Heated Rivalry” co-star Hudson Williams show up to present something during the main telecast. They do want people to watch, right?
When the cast members and creators of the 1990s “X-Men: The Animated Series” reunited at the 2019 Hill Country Comicon in New Braunfels, Texas, they went out for dinner and collectively yearned to one day work together again.
“We said, ‘Let’s put it to the universe: Universe, why don’t you manifest that somebody buys the rights to the show and decides to reboot it and bring us all back.’ We toasted the universe and here we are,” recalls Canadian actor Lenore Zann, the voice of the irresistibly tough Rogue, during a recent video call while visiting Los Angeles.
The result of that metaphysical request is Marvel’s “X-Men ’97,” which debuted in 2024 on Disney+, not as a reboot but as a continuation of the original 1992 classic animated show.
The first season of this new era for the X-Men received an Emmy nomination for animated program. Now, the long-awaited second season has arrived, with the fourth episode streaming this week. Even after the controversial firing of showrunner Beau DeMayo, “X-Men ’97” has already been renewed through Season 4 and the voice cast has started recording their lines for Season 3, Zann says.
The show’s success with both fans and critics is in large part due to its commitment to honor the original ‘90s show, about a group of mutants fighting for themselves and for humanity, not only by preserving its hand-drawn animation style and mature themes but also the voices and personalities of the characters.
“When I pitched the show to Kevin [Feige], he got it immediately and his first question was, ‘Are you going to get the original cast back?’ And I was like, ‘Yes, we are,’” says Brad Winderbaum, head of Marvel Television, Animation, Comics and Franchise at Marvel Studios.
Several voice actors from the original “X-Men” animated series returned for “X-Men ‘97,” which has returned for Season 2. From left, Beast (George Buza), Bishop (Isaac Robinson-Smith), Rogue (Lenore Zann), Professor X (Ross Marquand), Magneto (Matthew Waterson) and Nightcrawler (Adrian Hough).
(Marvel)
Not everyone was still around to return — Norm Spencer, voice of Cyclops, died in 2020 — but in addition to Zann, actors George Buza (Beast), Alison Sealy-Smith (Storm), and Cal Dodd, the voice of the lovable clawed grouch Wolverine, have reprised their roles in “X-Men ’97.” Their emblematic voice performances, Winderbaum says, are baked into his psyche.
“Any time Lenore says the word ‘sugah,’ it just makes me melt into a puddle on the floor,” Winderbaum says, laughing. “She is Rogue and, when she turns it on, she becomes an icon.”
Busy with her political career as part of Canada’s parliament, Zann stepped away from the entertainment business for over a decade. Zann was back home in Truro, Nova Scotia, figuring out her next chapter when she received an email from a friend who said producers at Disney were looking to have her audition for a show. She was skeptical.
Zann eventually got a call from casting director Meredith Layne and a screenplay with lines that were instantly familiar from her time voicing Rogue, the spunky heroine whose touch can be deadly, in the ‘90s.
”I thought, ‘I guess they’re looking for Rogue, so I’ll just give them Rogue,’” she recalls, laughing. “And I did my Rogue voice, which is basically just my own, but with a bit of a Southern accent thrown on,” she adds with a slight twang.
The producers then asked her if she would reprise her superhero for a new generation of kids.
Doing her Rogue voice, Zann recalls: “I said, ‘You had me at hello, sugah.’”
She revels in the similarities between her and Rogue. “We’re both social justice warriors. We really fight for people to be accepted as who they are.”
In 2024, Zann published “A Rogue’s Tale: A Memoir,” a tome recounting her storied life, titled after a memorable episode in the ‘90s series that revealed her beloved mutant’s backstory.
Wolverine in a scene from Season 2 of “X-Men ’97.”
(Marvel)
For Dodd, leaving behind Wolverine after five seasons of the original show felt like losing a part of himself. “X-Men ’97” offered him a chance to feel complete once again.
“I was so happy because when I first created the voice of Wolverine in ‘92, he became very quickly like my brother or my right arm,” Dodd says during a recent video call. “I got my arm back, and my brother.”
After all these years, Dodd was also pleased to see how the most important character of his career looked in the new series. “Out walks Wolverine and I just went, ‘Holy crap, you look great, bub,’” he recalls, laughing about his first time recording lines for “X-Men ‘97.”
When he first auditioned for the role in the ‘90s, Dodd had no idea who Wolverine or the X-Men were. At the time, he was making a living as a singer for commercials and jingles in Toronto.
Dodd remembers the lines he was asked to deliver were directed at the villainous mutant Sabretooth. He had never seen an image of Wolverine or any of the characters. “At one point, I said to them, ‘Is this an animal cartoon?’ They just thought I was a complete imbecile,” he recalls with a chuckle.
In that initial scene, where Sabretooth attacked Jubilee, a member of the X-Men who Wolverine sees as a daughter, his line was: “All right, you egg-sucking piece of gutter trash. You always like pushing around people shorter than you. Well, I’m shorter. Try pushing me.” Dodd recites it from memory in Wolverine’s voice with a growl.
“The lines I was reading, I’d heard them before in the small town that I grew up in Canada; it’s a fisherman’s town, a tough little town,” says Dodd about his reference for Wolverine’s voice. “I knew guys that were exactly like him, and I knew the way they sounded.”
Even without any notion of the X-Men, he nailed it.
“The next morning, they called me and said, ‘We would love to have you as our Wolverine for the very first X-Men animated series,’” Dodd recalls. “And I said, ‘I would love to be your Wolverine, whoever, and whatever he is.’”
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1.Cal Dodd, voice actor for Wolverine in “X-Men ’97.”2.Lenore Zann, who voices Rogue.(Pauline Aguirre)
When Rogue came into Zann’s life, she already had a notable career as a screen and stage actor. Zann had starred as Marilyn Monroe in a rock opera about the actor’s life, for which she received much praise. “My agent called me and she said, ‘Lenore, they’re doing this animated series, and they’re looking for “a woman with a deep husky, sexy voice who can do a Southern accent,”’” Zann recalls, laughing. “And she said, ‘That’s you!’”
Back then, Zann wasn’t interested in doing voice work, so she missed the first auditions. But about a month later, she says, her agent called again. They still hadn’t found the right voice, so she pushed Zann to audition. She walked in and looked at a drawing of Rogue that Larry Houston, the storyboard artist and director of the show, had drawn.
“She had a very sassy attitude, and she had her hand on her hip and her head back with the hair flowing. I was like, ‘Yeah, I can do that.’ And then I went into the studio, put the headphones on, and opened up my mouth, did the first line: ‘I remember I had a boyfriend, when I kissed him, poor boy went into a coma for three days,’” she says in Rogue’s voice. That was enough for her to land the life-changing part.
At the end of the first season of “X-Men ’97,” both Rogue and Wolverine find themselves in difficult times. Wolverine’s clash with Magneto, the perennial antihero, left him severely injured, physically and mentally.
“He’s as tough as nails and he is more pissed off than anything that he was the only one that stood up to Magneto. He’s disappointed,” says Dodd. “And it’s a struggle for him in Season 2 for a lot of it. And then you see what happens. He’s in a funky place, but he’ll handle it.”
Part of that healing process will involve leaning into the humor tat Dodd imbues in his delivery. “What I think is surprising when you go back and watch that original animated series is how funny Cal is,” says Winderbaum. “Wolverine has amazing one-liners throughout that original series.”
As for Rogue, she is grieving the loss of Gambit, a.k.a. Remy LeBeau, who died in the first season. To voice Rogue’s sorrow, Zann leaned into her own grief over the passing of her 17-year-old niece from cancer. In Season 2, Rogue is trying to move forward.
“She’s still basically on a hero’s journey wanting to get justice for what happened to Remy and for the genocide that she witnessed and that she is a survivor of,” Zann says. “She still got survivor’s guilt, and she’s still trying to find her place within the X-Men now that the one that she loves is gone.”
At comic conventions, Zann and Dodd often meet fans of the original show, who are now adults, and their children, who have also come to love the characters. The emotions that people share with them are at times overwhelming.
“Many times, they tell us that this show saved their lives. They were either LGBTQ+ or they were bullied, or they just felt othered,” Zann explains. “A lot of folks who are Latino tell me that when they were little kids, their parents were agricultural workers, and they learned how to speak English from watching our show. We made them feel it’s OK to be different.”
“I see grown men in tears. They’re in their 40s and they’re crying,” Dodd says about meeting lifelong fans. “I can tell you that Wolverine can cry as well.”
Zann believes the X-Men are like modern-day mythological heroes. Through their fantastical ordeals, the X-Men illustrate qualities that inspire viewers, young and old.
“They are a group of misfits who band together to learn how to control the things that make them different and learn to accept and love themselves,” she says. “It’s an honor to be part of this incredible group of people and these characters that can really touch lives and help change them for the better.”
PITBULL proved to the world what a smooth operator he is by getting together the biggest crowd of baldies.
He set a Guinness World Record at his Hyde Park gig when 22,141 fans put on bald caps — and then described the moment as “priceless”.
Pitbull proved to the world what a smooth operator he is by getting together the biggest crowd of baldiesCredit: The Mega AgencyThousands of revellers in bald caps and sunniesCredit: AFP
The London audience also turned out in white shirts and aviator sunglasses to emulate Mr Worldwide’s trademark look — and our Emily was one of them.
With the phenomenal demand for tickets, Pitbull also broke the record for the highest- recorded attendance for a BST Hyde Park show, with 69,999 fans.
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Walking out on to the Great Oak Stage on Friday, he said: “It is hard for me to say I am speechless, but all I can think of right now is knowing what my family went through in order to be someone free.
“As an immigrant family out of Cuba, to be able to pursue my dream and be on a stage like this and represent with all the baldies around the world, this is priceless.
“There is no way I could say thank you, there are no words to say what I feel right now.”
Pitbull, real name Armando Christian Perez, was handed his certificate by Radio 1’s Greg James and presenter Jack Remmington backstage before the show.
He said: “To all the baldies — like I said before, without you all, there is no Pitbull, no movement, no revolution.”
Of setting the records, he said: “It is not a surprise because hard work pays off and the harder I work, the luckier I get. What a blessing it is to be here in Hyde Park.”
Pitbull with the world record certificateCredit: AFPBizarre’s Emily Webber with Greg and Jack in the caps given out by AldiCredit: Supplied
In true style, Pitbull swigged from a bottle of his $24 Voli 305 vodka made in his home city Miami, to get into the party mood.
He was joined on stage by Kesha who rose to fame after featuring on Pitbull’s 2013 track Timber.
She said: “This record changed both of our lives, Pit.”
He said: “I thought, ‘What was the best way to represent you all?’. A good friend of mine said, ‘I think you should do this record’.”
During a two- hour set, Pitbull was also joined on stage by rapper Lil Jon for tracks Gasolina and Damn I Love Miami.
He ended the show with Time Of Our Lives featuring Ne-Yo, in which he raps: “Every day above ground is a great day.”
For his legion of fans, Friday July 10 in Hyde Park will be a night to remember.
Top dog Pitbull joins fans by wearing his own bald capCredit: AFP
PITBULL’S TEN COMMANDMENTS
Ask for money, get advice. Ask for advice, get money twice
Every day above ground is a great day
Take the word impossible and add an apostrophe, it becomes I’m possible
Live life, don’t let life live you
If you’ve got someone hating on you, that means you’re doing something right
Humble don’t stumble
In the word impossible is possible
We are called the baldies because we soar like bald eagles
Why dream it when you can live it?
The biggest room in the world is room for improvement
JAMES’ RETURN TO UK
American great James Taylor is returning to the UK for the first time in four yearsCredit: Getty
AMERICAN great James Taylor is returning to the UK for the first time in four years.
The You’ve Got a Friend singer, who has sold more than 100million records worldwide, will play London’s O2 with his All-Star band on Thursday, July 23.
The former world boxing champ went out of his way to put Pete at ease before he performed at daughter Venezuala’s recent wedding.
The Mysterious Girl singer said: “I chatted to Tyson for about an hour and he made me feel very welcome. I wasn’t just the performer.”
However, Peter enjoyed the gig so much that he is open to singing at more weddings.
He added: “It was such a happy occasion, I love weddings.”
Meanwhile, Peter is needed back on stage as he performs at Mamma Mia! The Party at The O2 in London. He will be playing Nikos until later this month.
Pete said: “It’s been amazing to vibe off the audience every night, and the set is incredible. It really feels like I’m in Greece. My kids have come to see me. I’m hoping they are getting more into Abba.”
Hendrik added: “They kept it short and sweet saying, ‘Good luck boys, enjoy it’.”
Niall Horan also offered support to the boys, who released their debut EP On Your Side on Friday.
Sean said: “He said he still gets nervous. To know someone like Niall is also bricking it is a good thing.”
Victoria Beckham lives has now trademarked a range of cookware in the StatesCredit: Getty
IT is said Victoria Beckham lives off a diet of grilled fish and steamed vegetables, but the Spice Girl-turned-businesswoman has now trademarked a range of cookware in the States.
Could the fashionista be out to give Jamie Oliver a run for his money?
Posh has filed paperwork for a name against a range of food and drink items including shot glasses, cake tins, cookie jars and sandwich boxes.
I have heard she likes a tequila.
But don’t go binning your Le Creuset pans just yet, as a source close to her tells me: “Victoria is protecting her categories. Nothing imminent is in the works.”
The beauty of Zen
Zendaya is heading on an exciting journey of her own by going into the beauty businessCredit: Getty
ODYSSEY goddess Zendaya is heading on an exciting journey of her own by going into the beauty business.
The actress – who plays Athena in Christopher Nolan’s new epic fantasy film – might even rival Gwyneth Paltrow’s wellness brand Goop one day.
She has filed Zendaya trademarks in the UK and the States for beauty and hair products, as well as social media and website services. A source said:
“Zendaya is an incredible actress and now she is set to make waves in the beauty industry.”
The new venture comes as her husband, Spider-Man actor Tom Holland, has launched premium booze-free beer brand Bero.
Zendaya was ruffling feathers when she stepped out in this revealing Louis Vuitton frilly gown for the Odyssey movie premiere held in Paris this week.
And as power couples go, it certainly looks like Tom and Zendaya are the ones to watch.
Olivia Attwood has her perfectly manicured fingers in so many pies, I’m struggling to keep upCredit: Sofi Adams.
OLIVIA ATTWOOD has her perfectly manicured fingers in so many pies, I’m struggling to keep up.
As well as her TV shows, podcast and various brand deals, the former Love Islander is now launching her own cocktail in a tin.
She hinted at the project earlier this year when she had the name of the drink tattooed on to her arm. Savano comes in three mixes – Hot Honey Margarita, Caipirinha and Moscow Mule – and is distributed by drinks firm Babco.
Olivia said the tipple is “a really exciting new chapter”, adding: “I’ve been teasing it for a little while so I can’t wait for everyone to finally try it.”
For a certain swath of millennials, Dan Finnerty’s rendition of Bonnie Tyler’s “Total Eclipse of The Heart” in the frat comedy “Old School” is its definitive performance.
In the 2003 film, the Dan Band’s sweaty, inappropriately exuberant version of the ’80s power ballad upstages Will Ferrell’s wedding. The scene forever changed the lyrics of Tyler’s hit to something much more profane, but no less yearning.
After Tyler’s death at 75, Finnerty (who played a similar role in “The Hangover,” among many other comedies) reflected on his sideways journey into Tyler’s career, and how one quick scene on a two-decade-old comedy still endures.
You’ve had a pretty unique relationship to Bonnie Tyler’s music, how are you feeling after she passed?
It’s definitely sad. Everybody is texting me. I never met her, but what an impact she had on me. I grew up right when “Total Eclipse” came out in the ’80s, and it was such a huge song at the time. It had never left my head. I was always just belting that song out because it’s so epic, from Jim Steinman’s writing to Bonnie’s performance.
Why does that moment from “Old School” still endure? It arrived at the last cusp of the DVD era before culture transitioned into the internet and streaming video.
Without YouTube and the internet, you really had to grab pop culture moments from your memory. That’s definitely one of the reasons why pulling it out seemed obscure when we did “Old School.” People were like, “Oh my God, yes, I love this f— song.” Which is so different now because everything’s at your fingertips, so you can’t really rely on like pulling back some nostalgia moment because it’s always around anyway now with the internet. But people were reacting as much to me dropping the f-bombs as the nostalgia of the song, and rediscovering it and realizing that the song kicks ass and never stops kicking it.
Was the song already in your repertoire when you filmed “Old School?”
I was doing my show with the Dan Band in Los Angeles, and [director] Todd Phillips ended up coming to one of the performances. I met him afterwards, and he was like, “There’s actually a wedding scene in this movie. What song would you sing at a wedding?” I had just started working on a medley of “Total Eclipse,” and I think at the time I was going to do “Holding Out for a Hero,” but then I just merged it with “Private Dancer,” and he was like, “Oh my God, I love it.” The following Monday, he called and he’s like, “Can you put that together?”
The bit works because you totally commit to the song’s hugeness, and the profanity slips by like it’s spontaneous. You can tell you love the song on the merits.
I had never done it before. But Todd had seen my show, and when we went to do the first take, I didn’t think I was allowed to swear. But I obviously was swearing during my live show in all my little medleys. He came running up and he’s like, “Are you gonna swear like you do in the show?” I’m like, “Am I allowed to?” And he’s like, “Yeah.” So I’m like, “Buckle the f— up.”
But basically, what I was doing was honestly trying to match Bonnie’s commitment at the level she did with her voice, which is what I loved about all of her performances and Jim Steinman’s music. It’s just over-the-top commitment and drama. The swearing was just me being like, “How can I bump this up one notch when they’ve already just nailed it?”
Did you ever hear from either of them about what they thought about the film?
I’d tried to get Bonnie to do a duet of “Total Eclipse,” and I reached her management. He was like, “Well, Bonnie’s willing to do the song as long as there’s no profanity because she’s not a profane person.” I was like, “Well, neither the f— am I. I was an altar boy.” It didn’t end up working out, because I knew if I did the song without the swearing, people would be like, “What the f—?” But later, met Jim Steinman. I mentioned it to Steinman, and he was like, “Oh, I wish they called me because I can make Bonnie do anything, she’d love the swearing,” which killed me.
You did kind of alter her song forever for a certain generation.
I was just picturing them both hating how I bastardized their song. So when I finally met Steinman, he was like, “No, no, no! I f—ing loved it. In fact, I’ve always thought of all those epic booms, the Kurzweil, all the big hits in ‘Total Eclipse,’ those were musical f—s.”
Mostly I wanted to just find Bonnie and apologize to her for all the drunk guys I have pictured over the years at her concert screaming “F—” ever since that movie.
That song became your biggest hit as a comedian. How’d it change your life?
It got funnier the older we got. When I would do “Total Eclipse” right after “Old School” came out, it would get the biggest reaction. There was one set early on at the Playboy Mansion, we were hired to play some party there. There were just a bunch of drunk guys at the mansion and a couple Playboy bunnies that were contractually hired to walk around and wave. They’re like, “Play ‘Total Eclipse,’” and so I did. Then they’re like, “Play it again.” I’m like, “OK.” Then “Play it again.” I was like, “Here we go, give them what they want.” It was the least amount of work I had to do for a song that was pre-loved from a moment in a movie.
God, I hope she knew how much I loved her and apologize for all the drunk guys that had probably f-bombed the hell out of her concerts.
Before that song, people were like, “Do you have a flier for your next show?” I’m like, “For what?” But once “Old School” happened, suddenly a record label was like, “We want to do a live album.” I’m like, “Who’s gonna buy it?” But my manager is like, “Don’t say s— like that. There’s a record label that wants to make an album with you, dumbass.”
The whole thing has just been a surprise, but it’s been a good one. We’re playing this festival in Canada next weekend, and God, that song’s going to be such a big moment.
The Grantchester star has opened up about his heartbreak at the news that ITV’s long-running detective drama is coming to an end after 11 seasons
A Grantchester star has opened up about the show coming to an end(Image: ITV)
A former Grantchester star has opened up about his devastation after learning that the show is coming to an end.
Tom Brittney, who played the Reverend Will Davenport in six seasons of the ITV detective drama before leaving in 2024, shared his emotional reaction to the announcement admitting his “heartbreak”.
“Oh, I was both heartbroken, in the sense of like, it was one of the longest running shows I think that ITV had had in that way,” he told Radio Times.
“And so I was very proud of the creators. Because I know after James Norton (who played Reverend Sidney Chambers) left, they were like, ‘We’ll try and get a new guy, it’ll probably fail, but we’ll try it,’ and so there’s no pressure on me to try and keep it going.”
The actor added: “And then luckily, it did, and I did six or seven wonderful series of that, and I loved it. It will always be a special place in my heart.”
The cosy crime drama, based on James Runcie’s collection of novels, first graced our screens in 2014 and has charted the partnership between a Cambridgeshire vicar and police detective for more than a decade.
However, it was announced last year that it was coming to an end. in the final ever series, Robson Green returns as Geordie with Rishi Nair as Alphy, Al Weaver as Leonard Finch, Tessa Peake-Jones as Mrs. C.
Kacey Ainsworth as Cathy Keating, Oliver Dimsdale as Daniel Marlowe, Nick Brimble as Jack Chapman, Bradley Hall as DC Larry Peters and Melissa Johns as Miss Scott.
Speaking about the show coming to an end, actor Robson Green who plays Detective Inspector Geordie Keating said: “From the very beginning, I have had the incredible fortune to be part of this extraordinary team of talented, passionate, and dedicated individuals who have become more than colleagues.
“They have become family. I have made friendships forged through shared laughter, challenges, and triumphs.”
He added: “The bonds we’ve formed extend far beyond the camera lens, and I know that they will endure long after the final scene within the Grantchester world has been filmed. Thank you to everyone who has been part of this incredible journey.”
“Mikel is incredible,” Spain boss Luis de la Fuente said after the quarter-final win.
“He has many qualities. He is a player that across the whole World Cup could have played in whatever team and done great.
“For us he is the standard of this idea, of this model. It is a pleasure to have him, and others but especially him. We know that without fail he is always there.”
Always there he may be, but Merino himself feared he would not be fit enough to play at this World Cup.
“The fact of being here a few months ago was unthinkable,” Merino said after the Portugal win.
“Now I am, as I said before, at the highest point, enjoying one of the happiest moments of my career.
“Now I remember all those bad moments, all the people who have supported me, all the people who have pushed me when even I sometimes found it difficult to believe I could be here.”
Merino’s heroics will be a familiar sight for Arsenal fans, with the 30-year-old having done similar at the Gunners.
Traditionally a midfielder, his height has seen him utilised as a striker by Arsenal boss Mikel Arteta, and the first time he was used in such a role was when he memorably came off the bench to score twice against Leicester in a 2-0 win in February last year.
“Merino is just one of those players who arrives at the right time, at the right moment in big games,” former England striker Wayne Rooney said on Match of the Day.
De la Fuente added: “He can be the best striker and the best midfielder because of his understanding of the game. He interprets the game perfectly.
“He is committed, he is generous, he is happy to do the work.”
I was in New York City with my family on the day Taylor Swift and Travis Kelce tied the knot at Madison Square Garden. Although our hotel was a few short blocks from the venue, which was surrounded by swooning fans, we managed to steer clear. Instead, we headed for the Nederlander Theatre on 41st Street to catch “Schmigadoon.”
The show, which took the Tony Award for best musical last month, was at the top of my must-see list, along with two other recent Tony winners — “Death of a Salesman” and “Giant,” — which I wasn’t sure would be as appealing to my 10-year-old.
There is a certain magic to Broadway despite the crush of commercial horrors a person must wade through in Times Square to get to a show, and “Schmigadoon” did not disappoint. I don’t remember the last time I laughed so hard during a live show. The jokes about a modern couple trapped in a magical town stuck more than 200 years in the past hit the mark with just the right amount of bawdy fun.
SNL alumn Ana Gasteyer is pitch perfect as the town’s vengeful moral crusader Mildred Layton, but the real hero of the show is McKenzie Kurtz, who plays Betsy, a love-hungry young farm girl desperate to catch a man and get married. Kurtz’s comic delivery is so over-the-top that laughter is the only option — and once you start laughing with her you can’t stop.
Like most Broadway musicals , “Schmigadoon” features an ensemble cast that represents the very best of the best when it comes to dancing and singing. It’s clear these actors like one another and know that they have a good thing. There is joy on the stage that transfers effortlessly to the audience. It’s one of those only-in-New-York experiences to be treasured. The show is scheduled to run through Jan. 3.
When we stepped out into the night after the show, we found it had rained. The temperature that day had reached 99 degrees and the city had wilted, but the downpour caused the mercury to plummet a good 10 degrees. The lights of Broadway sparkled in puddles as we made our way down the slick sidewalk, singing the show’s most catchy tune, “It’s not a metaphor, oh no it’s something more, it’s a literal bridge.”
I’m Arts editor Jessica Gelt wishing you a summer vacation that is also a journey. This is your arts and culture news for the week.
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Arts anywhere
FRIDAY
John Travolta listens for evidence which he hopes will trap a killer in Brian De Palma’s 1981 suspense drama, “Blow Out.”
(Filmways Pictures)
Blow Out The Academy Museum’s Summer Thrills series features a 35mm screening of Brian De Palma’s 1981 thriller about a movie sound tech who unwittingly uncovers a political assassination. John Travolta, Nancy Allen, John Lithgow and Dennis Franz star. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SATURDAY
Defiantly Joni The artist collective Muse/ique, in partnership with Center Theatre Group, presents a celebration of singer-songwriter Joni Mitchell, featuring Chris Pierce, Effie Passero, the DC6 Singers Collective and the Muse/ique Orchestra led by artistic and music director Rachael Worby. 5 p.m. Saturday and Sunday; 7:30 p.m. Thursday, July 16 and July 17; 2:30 and 7:30 p.m. July 18; and 2:30 p.m. July 19. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. muse-ique.com
Installation view of Alex Hubbard Abstract or Regular? at Regen Projects, Los Angeles July 11–August 15, 2026
(Evan Bedford, courtesy the artist and Regen Projects)
Alex Hubbard The exhibition “Abstract or Regular?” features video animations projected on wood cutouts by the Los Angeles-based artist, as well as a painting that demonstrates experimentation with the boundary between representational form and abstraction. Opening, 5-7 p.m. Saturday; exhibition continues through Aug. 15. Regen Projects, 6750 Santa Monica Blvd., L.A. regenprojects.com
The Shoebox Museum: A Private Immersive Experience A “narrative video game” is brought to life by theatrical and sensory vignettes that enhance the interactive audience’s examination of artifacts and memories of a past relationship. Shows begin every 30-45 minutes, 1-10 p.m. Saturdays and Sundays, through July 26. Afterhours Theater, 5628 Vineland Ave., North Hollywood. eventbrite.com
Earnestine Phillips, from left, Cynthia Kania, Susan Angelo and Ellen Geer rehearse “Waiting in the Wings.”
(Ian Flanders)
Waiting in the Wings Noël Coward’s 1960 play about a feud between two female residents in a retirement home for actors joins “Romeo & Juliet,” “A Midsummer Night’s Dream” and “Treasure Island” in the Theatricum Botanicum’s repertory season. 7:30 p.m. Saturday, through Oct. 3 (check schedule for specific days and times). Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com
SUNDAY
Journey Through Cahuenga: Indigenous Storytelling and Dance Generations of Native narratives are expressed through music, poetry and dance. Scheduled participants include Dennis Garcia (Fernandeño-Tataviam, Chumash, and Tongva), Chad Hamill/ čnaq’ymi (Spokane), Eric Hernandez (Lumbee), and Carolyn M. Dunn, Ph.D. (Cherokee, Muscogee Creek, Seminole, Cajun, French Creole, and Tunica-Biloxi). Hosted by Tonantzín Carmelo (Tongva). An LA Soundscapes Family Concert featuring a pre-show activity and participatory artmaking. Doors open at 10 a.m. 11:30 a.m. The Ford, 2580 Cahuenga Blvd. E., L.A. theford.com
Mahjong Social With Mahjong Mistress A full afternoon begins with a screening of the late Taiwanese American filmmaker Edward Yang’s 1996 film “Mahjong” followed by an open mahjong session for all experience levels led by Mahjong Mistress, a collective of four friends united by their love of the game and its use in fostering cultural connection and conversation. 1:30 p.m. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu
MONDAY
Hudson Hawk A 35th-anniversary 35mm screening of the 1991 Bruce Willis heist satire with director Michael Lehmann and co-screenwriter Daniel Waters; introduced by Larry Karaszewski. 7:30 p.m. Brain Dead Studios, 611 N. Fairfax Ave. studios.wearebraindead.com
TUESDAY
“Apparition, ” circa 1880–1890 by Odilon Redon. Charcoal, powdered charcoal, black chalk, and black and yellow pastel with stumping on brown paper. 20 11/16 × 14 11/16 in.
(Getty Museum)
Odilon Redon: Otherworldly Visions The exhibition includes charcoal drawings, lithographs and pastels by the French artist from the Getty’s collection, revealing the inspirations and imagination that helped create them. Through Oct. 18. Getty Center, 1200 Getty Center Drive, L.A. getty.edu
Harry Dean Stanton: Partly Fiction On what would have been the actor’s 100th birthday, Vidiots welcomes the 2013 documentary’s director Sophie Huber for a screening hosted by Cherry Jones and a conversation with Logan Sparks, writer-producer of Stanton’s final film, “Lucky.” 7:30 p.m. Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org
National Museum of the Aftermath screening series The final screening in the series pairs Reginald Alan Hudlin’s 1994 sci-fi short “Space Traders: Cosmic Slop” with William Greaves’ 1968 meta-documentary hybrid “Symbiopsychotaxiplasm: Take One.” 8 p.m. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu
Tchaikovsky & Beethoven Cristian Măcelaru conducts the L.A. Phil for Tchaikovsky’s “Violin Concerto in D major, Op. 35” (with soloist Leonidas Kavakos on violin) and Beethoven’s “Symphony No. 7 in A major, Op. 92.” 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
THURSDAY
The Lord of the Rings: The Fellowship of the Ring in Concert The Pacific Symphony, soprano Kaitlyn Lusk, voices/LA and Los Angeles Children’s Chorus unite under conductor Ludwig Wicki for the 25th anniversary of Howard Shore’s Academy Award-winning score, performing live as director Peter Jackson’s epic film is projected on a 60-foot screen. 7 p.m. Thursday and Friday; 1 and 7 p.m. Saturday. Peacock Theater, 777 Chick Hearn Court, downtown L.A. peacocktheater.com
Mozart & Brahms Spanish conductor Roberto González-Monjas leads the L.A. Phil on Korngold’s “Straussiana,” Mozart’s “Piano Concerto No. 19 in F major, K. 459” (with pianist Mao Fujita), and Brahms’ “Symphony No. 4 in E minor, Op. 98.” 8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com
— Kevin Crust
Dispatch: Remembering a master actor
Trisha Miller, from left, Josey Montana McCoy, Peter Van Norden and Dan Lin in “Misalliance” at A Noise Within.
(Craig Schwartz)
Peter Van Norden, one of Los Angeles’ most accomplished stage actors, died Wednesday at age 75. A graduate of Colgate University, he worked steadily in film and television, wracking up notable credits (“The Accused,” “St. Elsewhere,” “Murder, She Wrote”) over four decades.
But it was in the classical theater where he distinguished himself with his command of language and depth of human understanding.
He didn’t need to be cast as the star to elevate a production. His textual fluency and incisive, unfussy intelligence set a standard for his fellow company members, who might not be able to match him but couldn’t help gaining inspiration from his veteran example.
What might his Prospero be like, I wondered longingly? Later that year, he got the chance to show me in a rackety Antaeus Theatre Company revival that unfortunately failed to make the most of his poetic gifts.
He was better served by the graceful 2024 production of “Misalliance” at A Noise Within, where he played the wealthy underwear industrialist John Tarleton in a voluble comedy of ideas that proved Van Norden was as adept in crisp, rational, talky idiom of George Bernard Shaw as he was in the more supple iambic pentameter of Shakespeare.
He was slated to appear as Capt. Shotover in Antaeus’ upcoming production of “Heartbreak House,” Shaw’s masterpiece. It was a role he had long wanted to play, and I can’t imagine the part being better cast.
For his heroic service to Los Angeles theater, Van Norden received the 2024 Michael McCarty Recognition Award, honoring Los Angeles–based Actors’ Equity members who have built their lives in the theater. I remember cheering from my desk the moment the announcement landed in my email inbox. Sometimes the award gods get things right.
Van Norden, who is survived by his wife, Wendy, and his son, Robert, a film producer, inspired that kind of hearty, spontaneous, grateful applause. Whenever I saw his name in a theater program, I breathed more easily, knowing that whatever else might happen that evening I would at the very least have the pleasure and the privilege of another Van Norden master class.
— Charles McNulty
Culture news and the SoCal scene
Nael Nacer, from left, Andrea Martin and Susan Pourfar in “Meet the Cartozians” by Talene Monahon at Second Stage Theater.
(Photo: Julieta Cervantes)
Times theater critic Charles McNulty knows a good show when he sees one — but also when he reads one. And this past week he helpfully compiled a list of eight works that he’s read for award consideration — or seen outside of L.A. — that he believes deserve local productions. I’m not going to spoil it for you by listing them here, so you’ll just have to read the story.
Are you a budding artist, or even a seasoned one looking to step up your game? Times contributor Sarah Fensom put together a handy list of seven L.A. figure drawing events and classes that feature unique concepts including high fashion and nude muscle men. Find your perfect match, here.
The Lucas Museum of Narrative Art in Los Angeles.
(Myung J. Chun / Los Angeles Times)
The Lucas Museum of Narrative Art is set to open on Sept. 22, but it announced some exciting news this week: It is giving free annual passes to its South L.A. neighbors in the 90037 ZIP code. The LM37 passes entitle holders to reserve tickets for themselves along with a guest. Tickets for non-pass holders go on sale July 21 and cost $25 for adults and $21 for seniors. Kids 17 and under are free.
On the heels of its 60th season, East West Players, the largest and longest-running Asian American theater in the country, announced its 2026-27 slate. “This season is the first chapter of East West Players’ next sixty years, a bold invitation to imagine what Asian American theater can become,” said artistic director Lily Tung Crystal in a statement. “By centering new voices, we’re not just honoring our legacy, but shaping the canon for generations to come.” The mainstage season will include the Southern California premiere of Jaclyn Backhaus’ comedy “Wives,” the Los Angeles premiere of the eponymously titled work “Kristina Wong, #Foodbankinfluencer” by the Pulitzer Prize finalist and East West Players’ New Works Festival. The group is also enticing theatergoers with new ticketing options: Pay-What-You-Will for every show and the Emerging Artist Membership, a free program for theatergoers ages 18 to 35, which guarantees $20 orchestra seats for them and a guest.
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The Smithsonian Museum of American History on the National Mall in Washington.
(Pablo Martinez Monsivais / Associated Press)
A new White House report calls leadership of the Smithsonian Institution radical activists who “cannot be trusted to tell America’s story honestly and in a way that is inspiring, unifying, and worthy of our great republic.” The report specifically singles out the National Museum of American History, and culture watchers fear it’s paving the way for Trump to install his own team of leaders as he did at the Kennedy Center.
Speaking of the Kennedy Center, Trump appealed a court decision to remove his name from the building’s facade, but this week an appeals court denied his request.
— Jessica Gelt
And last but not least
We can all stop taking our kids to live-action remakes of Disney classics. Seriously. Times film critic Amy Nicholson breaks down why in this crushing review of the new live-action “Moana.”
Sirens blared in several cities in Jordan as Iranian missiles were intercepted. Jordanian Armed Forces confirmed at least eight missiles were intercepted.
The World Cup final halftime show already was going to feature three superstar acts with 121 Billboard Hot 100 hits, 20 No. 1 singles and 12 Grammy Awards among them.
Somehow that must not have been enough star power, because another performer with 123 hits, eight chart toppers and two Grammys has been added to the lineup.
Bieber was announced Wednesday as the fourth co-headliner for the July 19 intermission extravaganza at MetLife Stadium in East Rutherford, N.J., joining South Korean boy band BTS, U.S. pop culture icon Madonna and Latin music superstar Shakira.
Four gigantic worldwide acts might seem like a lot to cram into an 11-minute (!) show, but apparently curator Chris Martin doesn’t see it that way. In addition to the quartet of headliners, Martin also has lined up Nigerian Afrobeats performer Burna Boy, soon-to-be-departing Los Angeles Philharmonic conductor Gustavo Dudamel and Staten Island elementary school choir the PS22 Chorus (which will be performing with Martin’s band Coldplay).
Oh yeah, the Muppets will be there, too. Bieber will be lucky if he gets a chance to sing a bar or two from a list of hits that includes “Peaches,” “Sorry,” “Love Yourself” and “Daisies.”
Nonetheless, he seems happy to be part of the festivities, which will support the FIFA Global Citizen Education Fund, weeks after attending the U.S.-Paraguay game at SoFi Stadium, where he gave a surprise performance of his song “Yukon” in a backstage area.
“The FIFA World Cup brings the world together in a way nothing else can,” Bieber said in a statement. “I’m grateful to be part of this Halftime Show, and even more grateful knowing it’s already helping expand access to education for children around the world.”
One song that is sure to be featured during the set is this year’s World Cup anthem, “Dai Dai,” by Shakira and Burna Boy. The two acts already performed the song during the tournament’s opening ceremony in Mexico City.
Speaking of hit collaborations, Madonna recently charted with “Bring Your Love,” a duet with Sabrina Carpenter. Not to start any rumors, but surely they can squeeze one more pop superstar onto that stage, right?
Rhea Seehorn was nervous about whether “Pluribus” would be recognized by Emmy voters Wednesday when nominations were announced. So she was jubilant when she and the surreal sci-series on Apple TV scored 18 nominations, the most for a first-year drama.
“I’m just so grateful,” the actor said in a phone interview. “People were like, ‘Why were you nervous?’ Honestly, you never actually know. I’m just so thrilled for the show, my co-stars, the production design, the editing, the writing, the music, the sound. I haven’t moved from my couch since they first announced everything because I’m still trying to call everybody on the show.”
Seehorn received a nomination for lead actress in a drama series for her portrayal of cynical Carol Sturka, a fantasy romance author who finds herself in a mystifying situation after a virus seems to have wiped out most of Earth’s population. The series was created by Vince Gilligan, who created the acclaimed series “Breaking Bad” and co-created its spinoff “Better Call Saul,” which also featured Seehorn.
The actor compared her experience of being nominated for “Pluribus” to “Better Call Saul,” which earned her two supporting actress nominations: “ ‘Better Call Saul’ was such a family that supported and cheered each other on, and I’m so grateful I have that environment again. People could not be happier for each other, and we get to celebrate the show together.”
She added, “The only part that feels different is that it’s my first nomination as a lead. It’s the process of Vince writing this for me and seeing the mountain which he wanted me to climb and going through that process. The whole thing has been its own journey, so ending up with awards and nominations, and being so well received by critics and fans is not lost on me.”
The series has been applauded for its mix of drama, comedy and strangeness in its portrait of a woman coming to terms to what seems like an impossible dilemma.
“I love the storytelling, how much Vince and I would drill down on making this as authentic as we could in terms of an everyman who has to deal with an insane situation,” Seehorn said. “Most of us are just not heroic or leaping off the couch to go save the world. And Carol is dealing with immense grief and confusion in an utter dystopian crisis. I love the humor and the drama that comes out of us being as realistic as we can with her amidst an unrealistic event.”
Fans of “Pluribus” have been relentlessly curious since the finale in December about when the second season will launch.
“I don’t know anything about that,” Seehorn said. “I don’t have to keep secrets because I’m not great at keeping them, and I know nothing. I don’t know what I’m doing with an atom bomb in the driveway. I can’t wait to find out. The writers want to have the same quality and reward the intelligence of the fans and never phone a single thing in. So their process is their process.”
Fans refused to believe Tamera is celebrating her 48th birthdayCredit: TikTokThe star insisted she is embracing her age as ‘every year is a gift not everyone gets to unwrap’Credit: TikTok
Today Tamera shared a clip on TikTok revealing the women are celebrating their 48th birthday, and fans refused to believe it.
The clip showed her being presented with a cake decorated with ‘3’ and ‘8’ candles, before someone off camera switched the first for a ‘4’.
After jokingly running away from the cake, Tamera stopped and pulled the candles from the cake before holding them up and smiling at the camera.
She wrote: “We spend so much time running from our age. Well, this year, I’m dancing with it. 48 and grateful, because every year is a gift not everyone gets to unwrap.”
Twins Tia and Tamera starred in Sister, Sister from 1994 until 1999Credit: Alamy Stock PhotoTia recently confirmed there is ‘distance’ between them following long-running rumours of a feudCredit: Variety via Getty Images
Rushing to comment, one fan wrote: “Why did I think she’s actually 38? She looks amazing.”
Another said: “There is no way they’re 48!!!”
Someone else wrote: “Oh baby you look 28.”
And a fourth added: “Excuse me, 48? You don’t look a day over 20.”
But the players on the pitch haven’t been the only ones catching the eyes of soccer viewers.
Another legend among legends has also cemented his legacy during this run: Aurelio Casillas — the fictional drug kingpin and protagonist at the heart of the long-running Telemundo series “El Señor de los Cielos.”
The 10th season of the program finds Casillas reemerging to recover his narcotics empire after disappearing from his family’s radar. Familial drama ensues as betrayal runs rampant and Casillas embarks on a vengeful crusade against his enemies to regain and avenge the death of his love interest.
The image of Casillas, portrayed by veteran Mexican actor Rafael Amaya, has been plastered all across Telemundo’s World Cup coverage.
In the ads leading into games, Casillas is there. During most commercial rejoins, hosts spotlight the “El Señor de los Cielos” final season‘s Tuesday premiere.
The promotion has gone beyond what most U.S. audiences might be accustomed to as the network has cleverly implemented in-game ad reads that seem to flow freely into match coverage.
If Haaland coordinates a strike that helps Norway regain power in the game, a Telemundo game announcer might point out that decorated drug trafficker Casillas has also been known to schedule timely strikes to help him regain power in the dangerous world of narco warfare.
The incessant and cheeky ad reads served as more than just a gimmick as social media users have taken note of Telemundo’s marketing strategy. Many have joked about capitulating to the network’s advertising and giving the show a try. Others have humorously pondered about the contents of the program, while some have defiantly proclaimed that they will never fall for the series’ propaganda.
Hate it or love it, people can’t stop talking about it.
During halftime of Friday’s high-octane Argentina-Cape Verde Round of 32 match, Telemundo sportscaster Adriana Monsalve nodded to the online chatter the show has generated.
“We’ve read your messages on social media,” Monsalve said. “Between those who have said they’ve been convinced and those who admitted that they will be watching ‘El Señor de los Cielos,’ all we have to say is thank you. We await you all this Tuesday at 9 p.m./8 p.m. Central on Telemundo and Peacock.”
This type of over-the-top promotion model has long been used by the network as a way to convince advertisers that running commercials on its airways is worthwhile, noted University of Oregon advertising professor Christopher Chávez.
“They’ve really had to scrap it out over the years and so their product placement has always been overt, whereas in English-language media, there’s at least some attempt to make it creative or artistic,” Chávez, who also serves as the director of his school’s Center for Latina/o and Latin American Studies, told The Times. “There’s just this history of announcers and creatives really just going all in on marketing and almost not disciplining themselves, and because you have this global platform, people are just taking notice and they’re having fun with it.”
Telemundo’s executive vice president of marketing and creative strategy, Claudia Chagui, told The Times that the company had a game plan for how to approach the moment for “El Señor de los Cielos.”
“We had a very clear strategy going into the World Cup,” Chagui said. “We knew what we wanted to do in terms of how to protect our core fans and how to attract English-leaning Hispanics and maybe even general market fans to come and watch it in Spanish and all of that happened. We knew that this launchpad for ‘El Señor’ was going to be the strongest platform we could have.”
Chávez remarked that the Telemundo likely put a lot of stock in engaging Latinos online in the hopes that they would have fun with the marketing rollout.
“[Telemundo] knows that Latinos are younger and tend to be more proficient users of social media and more likely to share content,” Chávez said. “They’re very aware of that kind of market research, so whatever they put out there, hopefully it’s going to be meme-able or it’s going to be shareable. I think they’re pretty much banking on that.”
Chagui said that while much of the viral online chatter is beyond the control of the network, Telemundo’s social team has been locked in to the conversations regarding the show.
“We have our ‘El Señor’ account and even our Aurelio account — who is commenting on some of these conversations — and we’re making sure that our community feels like they’re being heard,” Chagui noted. “There is a real fan community around this IP and we take that very seriously. We want to take care of our fans.”
The show has been able to have such reach this World Cup cycle because more U.S. viewers are opting to tune in to Telemundo’s coverage than ever before.
In a recent social media post, Telemundo said that nearly half of all World Cup viewers stateside are watching its coverage.
NPR reported that 20% of Telemundo’s soccer audience speaks English as their primary language. Telemundo Deportes leadership told the outlet that the network’s telecast numbers have increased by 122% since the 2022 World Cup in Qatar.
“It’s so much better when we’re watching it on Telemundo, because the announcers are not simply announcing the game, they’re engaging with the audiences themselves,” said Mari Castañeda, University of Massachusetts Amherst’s Commonwealth Honors College dean. “They’re really leaning into a more Latino aesthetic that is much more loose, open, joyful, kind of like a party atmosphere that changes the vibe and makes it become more celebratory, which it should be. The World Cup is meant to bring people together and it really seems to be doing that.”
That level of involvement from the commentators was something that Telemundo’s marketing team made sure to instill in its talent pool, Chagui noted.
“We work with our sports team and say, ‘These are the things that are top priorities for us from a promotional perspective,’ and our team creates all those mentions for those commentators and we work hand-in-hand with the sports team to make sure that there’s time within the games for them to be able to make those mentions,” she said.
“We tweak that messaging along the way to make sure that it doesn’t become too repetitive, that people don’t get tired of it. And now when the season starts, you’ll see that those mentions are going to be even more organic and will be more related to what’s happening on the show at the time.”
“We prayed for that, but it’s been tremendous,” Chagui said. “[The Round of 32 game against Ecuador] had over 17 million viewers, so talk about a dream promotional platform. We really couldn’t ask for more.”
Chávez saw this current cultural moment as a great time for “El Señor de los Cielos” to potentially add a slew of new viewers, especially among English-first audiences.
“One of the things that streaming platforms like Netflix has done is that you’re starting to now see preferences change,” he said. “American audiences are starting to consume Korean dramas, for example, or Spanish-language dramas … [these] platforms have changed people’s comfort levels with consuming content that is not necessarily in English.”
Chagui also credited Telemundo’s streaming home, Peacock, as an important driver of popularity for “El Señor de los Cielos.”
“Now everybody watches content in any language, so I think the partnership with Peacock has been tremendous, because we know a lot of consumers don’t watch linear television anymore, and so if you’re not available on the streaming platforms, then you already hit a brick wall … we have to be available where our audiences are consuming content,” Chagui said.
If you’re one of the many people intrigued by the series, but find the idea of doing nine seasons of catch-up viewing daunting — there’s no need to fear, Telemundo has got you covered.
Seizing on the show’s newfound increase in popularity, the network created a special episode of “El Señor de los Cielos” that recaps all nine seasons of the series in under two hours.
“We needed a catch-up strategy because core fans are going to want to catch up before the premiere of the new season, but we’re going to bring in all these new eyeballs with the World Cup, and so we had to have something that is easy for them to understand what the series is about so they can hit the ground running,” Chagui said. “That’s where we had this idea to do this 90-minute recap of all nine seasons and so since we launched that on Peacock and the consumption has been off the charts.”
But the appeal of the “El Señor de los Cielos,” which began airing back in 2013 and is inspired by the real-life escapades of Mexican drug lord Amado Carrillo Fuentes, goes beyond just the viral marketing.
“I think for a lot of the folks that were not watching it, but that now are interested and fascinated by the show, [the appeal] is that it’s based loosely on a true story,” Castañeda said. “That’s one of the things that in talking to some of the elders in the community is what connects them to the story itself, it feels like it’s something relevant and contemporary because it’s based on the potential of a true story that’s taking place.”
Castañeda added that the program’s high production value and explosive action scenes make “El Señor de los Cielos” seem like “a fun show to watch.”
Amaya’s turn as the sinister yet family-focused Aurelio Casillas has drawn comparisons to James Gandolfini’s portrayal of mob boss Tony Soprano — a distinction the actor dubbed an “honor” as “The Sopranos” is one of his favorite series.
In a conversation with The Times, Amaya embodied the corporate synergy that has piqued interest in his show.
“Our World Cup are TV series and I think that we’ve scored a bunch of goals during the decade that we’ve been telling a story that always been buzz-worthy and that has passed from generation to generation,” Amaya said. “All that is thanks to the viewers and to the characters who have evolved and remained relevant.”
In addition to the plethora of ads, the “El Señor de los Cielos” lead actor contributed to Telemundo’s World Cup coverage through a special program titled “Diarios de Fútbol con Rafael Amaya.” The show follows Amaya around L.A. as he speaks with soccer legends about the transformative power of the sport.
When asked what new viewers of the show should expect, Amaya kept it simple.
“They’re obviously going to see a series filled with adrenaline, betrayal, unexpected turns,” Amaya said. “In this 10th season there are a lot of changes, and I think it’s the best season yet.”
Walt Disney Co.’s ABC network has stepped up its defense of “The View” amid its battle with Federal Communications Commission Chairman Brendan Carr, who has targeted the network’s programming and its hiring policies.
At issue is whether “The View” still qualifies for an exception to FCC rules that require broadcasters to provide equal air time for opponents of various political candidates.
Carr has called the daytime talk show “overtly political.”
Late Monday, ABC filed documents with the FCC to support its request for a declaratory ruling that “The View” is indeed a bona fide news interview program entitled to the equal-time rule exemption that covers newscasts, political debates and documentaries.
The show was granted the exception in 2002.
“Today, the program in the Commission’s sights is The View,” ABC said in this week’s filing. “The principle in the balance is far larger: whether a federal regulator may override a broadcaster’s editorial judgment about whom to interview — a judgment the Constitution commits to broadcasters and their audiences, not to the state.”
Since the FCC opened its inquiry in late May, the agency has received more than 77,000 public comments — most in support of the long-running daytime talk show.
“While ABC insists that ‘The View’ is a ‘bona fide news program’ under the law, ABC should focus on complying with its public interest obligations, rather than misleading the public about them,” an FCC spokesperson said in a statement sent to The Times.
Losing the licenses for its stations, including KABC-TV Channel 7 in Los Angeles, would be a significant blow to the Disney-owned network.
Some conservatives, including Sen. Ted Cruz (R-Texas) have suggested the FCC actions are an overreach while others have encouraged the agency to come down hard on Disney.
“The Commission can take this opportunity to address multiple pending complaints against ABC related to its programming,” conservative lawyer Daniel Suhr, head of the Center for American Rights, wrote in his 65-page petition in support of revoking Disney’s licenses.
“The View,” which features Trump critics Whoopi Goldberg, Sunny Hostin, Joy Behar and Ana Navarro, helps make a case that Disney is running a partisan network, Suhr alleged in his documents.
“Democrats are featured on The View at an insanely high ratio compared to Republicans,” Suhr wrote, noting that at least a third of the show’s 348 guests in 2025 were liberals — including Sens. Bernie Sanders (I-Vt), Elizabeth Warren (D-Mass) and Cory Booker (D-N.J.). Meanwhile, two prominent conservatives, former Georgia Republican Rep. Marjorie Taylor Greene and actor Cheryl Hines, the wife of Health and Human Services Secretary Robert F. Kennedy, Jr., were featured last year.
Since Carr opened the review, the ABC show has avoided conversations with political candidates in competitive races leading up to this year’s pivotal midterm elections.
The show has continued its tradition of hosting politicians, though, including a highly rated interview last month with a Carr ally — Vice President JD Vance.
ABC has asked the FCC for a declaratory ruling on the status of “The View.” The network maintains that “The View” books politicians based on newsworthiness and not partisanship.
“Big fan of the show. Hope my vote counts,” wrote one viewer, Wilson Vélez, in a comment filed with the FCC on Monday.
Another viewer, Patricia Pomeroy, wrote: “Freedom of speech, Freedom of speech, Freedom of speech.”
ABC’s filing noted that the program has kept the same format and focus on topical news events since its inception.
“What has changed is not the program but the political climate around it,” ABC said in the petition.
Disney’s filing, signed by attorney Paul Clement, commended the “robust response” from the public, saying the outpouring “represents laudable civic engagement of the kind the Commission should welcome given its statutory obligation to make decisions based on the public interest.”
Storied norteño group Los Tigres del Norte announced Tuesday that they are teaming up with departing L.A. Philharmonic conductor Gustavo Dudamel for a special performance Aug. 21 at the Hollywood Bowl.
The show is part of a series titled “Celebrating Gustavo at the Bowl,” which looks to send off Dudamel in style as he transitions into his new role as the music and artistic director of the New York Philharmonic. The “Jaula de Oro” artist’s appearance is part of “Gustavo’s Fiesta,” which will also feature performances by other prominent Latino artists.
The norteño act has sold 37 million albums and recorded 500 songs over a career that’s spanned five decades. They have seven Grammy Awards, eight Latin Grammys and have had 66 songs land on Billboard’s Hot Latin Songs chart, the most of any Latin music act ever.
Recently, the “La Puerta Negra” hitmakers were immortalized in U.S. pop culture history when its members appeared in animated form in a December 2025 episode of “The Simpsons” and performed an original corrido about the escapades of Homer Simpson and Pedro Chespirito (also known as the Bumblebee Man).
The show will serve as Dudamel’s third-to-last performance as the music and artistic director of L.A. Philharmonic. On Aug. 22, he will be in concert with Foo Fighters. His farewell weekend will conclude Aug. 23 and will serve as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.
Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund.
Death, taxes and Jean Smart winning another Emmy are among life’s certainties.
But outside of the realm of the expected, what are we looking for when Emmy nominations arrive Wednesday?
I do have questions, namely:
Can two-time Emmy winner Zendaya earn a nod for “Euphoria,” a show that remained a ratings hit even if it seemed like people mostly watched to complain about it?
Might “Widow’s Bay,” television’s best new comedy, grab the momentum from “Hacks,” Smart’s Emmy-winning series that looked like it’d be taking a victory lap for its final season?
And, will voters stop encouraging Ryan Murphy or do we need to write another hundred think pieces about why “Love Story” felt so wrong?
For an Emmy season that looked more than a little underwhelming just a few weeks ago, those intrigues offer a wrinkle or two, something for us to chew on as we search for a candle that doubles as a receptacle for hot caramel sauce, as seen in the just-released final season of “The Bear” — a season that, because of its June release, won’t be eligible until 2027.
Meanwhile, here’s what we can look for this year.
Comedy series
Matthew Rhys and Stephen Root in “Widow’s Bay.”
(Apple)
“Abbott Elementary” “The Bear” “The Comeback” “Hacks” “Margo’s Got Money Troubles” “Only Murders in the Building” “Shrinking” “Widow’s Bay”
Possible surprise: “Rooster” Possible snub: “The Bear”
Google “Widow’s Bay” and your first result will be: “Did you mean: the next Martha’s Vineyard and definitely not cursed.” It’s an inspired bit of marketing for a series that found the sweet spot between comedy and horror, making us shriek with laughter and revulsion, sometimes simultaneously.
The Apple TV series premiered on April 29, arriving so late that only seven of its 10 episodes are eligible for Emmy consideration. Apple had considered bumping it to October, so it could establish a beachhead with guild and Globes voters before competing at the 2027 Emmys, but decided to enter the fray this year to compete with shows that, while still favorites, are a bit past their prime.
The inaugural season of “Widow’s Bay” evolved as a classic slow burn, establishing the world of its cursed New England island with care and then burrowing into its characters and lore with the kind of detail that prompts full-blown obsession. The 811-song playlist that Patricia made for her Sunset Cocktails party? Who doesn’t have a spare 60 hours to listen? Mining the multitude of horror movie references that the show ingenuously employs? Of course! Something’s wrong with you if you didn’t rewatch “Jaws” after the episode where, out at sea, Stephen Root’s cantankerous Wyck has his own Captain QuintUSS Indianapolis monologue.
The question now: Did “Widow’s Bay” have enough time to hook Emmy voters? Or am I just so taken with this show, a series I myself came to late, that my enthusiasm is clouding my judgment? Short answer: “Widow’s Bay” may not get every nomination it deserves. (The late arrival makes its extraordinary season finale ineligible.) But I don’t think you can argue with perfection.
Comedy actress
Ayo Edebiri, left, with Liza Colon-Zayas in Season 4 of “The Bear.”
(FX)
Quinta Brunson, “Abbott Elementary” Ayo Edebiri, “The Bear” Elle Fanning, “Margo’s Got Money Troubles” Lisa Kudrow, “The Comeback” Jean Smart, “Hacks”
Possible surprise: Kristen Bell, “Nobody Wants This” Possible snub: Edebiri
Remember when the biggest Emmy question about “The Bear” revolved around whether it belonged in the comedy categories? Now, after a couple of seasons that tried viewers’ patience when it came to narrative momentum, it’s fair to wonder whether the series — and its cast — will continue to be nominated. In the absence of anything better and because the show, even when spinning its wheels, continues to offer much to enjoy, I think “The Bear” is safe for now. And its final season, which dropped after voting ended, reaffirms just how good the series and its stars can be when it’s cooking.
Comedy actor
Martin Short, right, with “Only Murders in the Building” co-stars Steve Martin and Selena Gomez.
(Patrick Harbron / Disney)
Steve Carell, “Rooster” Matthew Rhys, “Widow’s Bay” Jason Segel, “Shrinking” Martin Short, “Only Murders in the Building” Jeremy Allen White, “The Bear”
Possible surprise: Adam Brody, “Nobody Wants This” Possible snub: White
It’s worth remembering that “The Studio” won comedy series last year, and its co-creator, Seth Rogen, prevailed here. In its absence, this category is open for business, with Rhys, so good at shifting between his show’s droll humor and genuine terror, an obvious choice. Short figures to get a small boost from the Netflix documentary “Marty, Life Is Short,” which offers a moving look at the losses he has endured over the years and his inspiring endurance. Short has never won an acting Emmy and you know he’d give a great speech.
Comedy supporting actress
Kate O’Flynn in “Widow’s Bay.”
(Robert Clark / Apple TV)
Hannah Einbinder, “Hacks” Janelle James, “Abbott Elementary” Kate O’Flynn, “Widow’s Bay” Ashley Padilla, “Saturday Night Live” Michelle Pfeiffer, “Margo’s Got Money Troubles” Sheryl Lee Ralph, “Abbott Elementary” Jessica Williams, “Shrinking”
Possible surprise: K Callan, “Widow’s Bay” Possible snub: Padilla
Last note (I promise) on “Widow’s Bay.” Because its season finale aired after the May 31 eligibility deadline, K Callan’s showcase episode opposite Rhys isn’t eligible, though anyone who watched the series might be inclined to vote for the 90-year-old actor anyway. Dorothy’s walk down memory lane, filled with tantalizing stories (“He got bit by an animal and became that animal,” she says of an old boyfriend), Tennessee Williams stitch-quotes, existential wisdom and bombshell revelations, was pitch-perfect, one of the standout moments of the television year. (Another, of course, was Patricia’s Sunset Cocktails party, with a tour de force turn from O’Flynn.)
Comedy supporting actor
Harrison Ford, left, with Michael J. Fox in “Shrinking.”
(Kevin Estrada / Apple)
Paul W. Downs, “Hacks” Harrison Ford, “Shrinking” Ebon Moss-Bacharach, “The Bear” Nick Offerman, “Margo’s Got Money Troubles” Stephen Root, “Widow’s Bay” Michael Urie, “Shrinking” Tyler James Williams, “Abbott Elementary”
Possible surprise: Bowen Yang, “Saturday Night Live” Possible snub: Williams
Can we roll over last year’s “It’s time to give Harrison Ford an Emmy” campaign? Because it’s still time.
Drama series
Noah Wyle in “The Pitt.”
(Warrick Page / HBO Max)
“The Diplomat” “A Knight of the Seven Kingdoms” “Paradise” “The Pitt” “Pluribus” “Slow Horses” “Stranger Things” “Task”
Possible surprise: “The Testaments” Possible snub: “Stranger Things”
It’s hard to believe that “The Pitt” earned a mere 13 nominations for its first season, winning for series, casting and for actors Noah Wyle, Katherine LaNasa and Shawn Hatosy. Encore victories seem assured for all but Hatosy, who will bump from guest actor to supporting, where he’ll compete against castmate Patrick Ball, among others. “Pluribus” figures to score plenty of recognition too — it might even best “The Pitt” for most nominations. But its prognosis for victory would seem guarded at best.
Drama actress
Zendaya as Rue Bennett in “Euphoria.”
(Eddy Chen / HBO)
Kathy Bates, “Matlock” Carrie Coon, “The Gilded Age” Keri Russell, “The Diplomat” Rhea Seehorn, “Pluribus” Zendaya, “Euphoria”
Possible surprise: Chase Infiniti, “The Testaments” Possible snub: Bates
Zendaya won for the first two seasons of “Euphoria,” becoming the youngest person to win in 2020 and, two years later, the youngest actress to take two Emmys. So hate on her show all you want (seriously, go ahead, it was a mess), but voters will (rightfully) give her a pass. Winning another Emmy is off the table, though, making this a race between the gifted Seehorn, a perennial Emmy underachiever, and Russell, nominated five times as actor and still looking for her first trophy. How fun would it be if the Emmys turn into a reunion for “The Americans” with both Russell and Rhys winning?
Drama actor
Mark Ruffalo in “Task.”
(Peter Kramer / HBO)
Sterling K. Brown, “Paradise” Walton Goggins, “Fallout” Gary Oldman, “Slow Horses” Mark Ruffalo, “Task” Noah Wyle, “The Pitt”
Possible surprise: Jon Hamm, “Your Friends and Neighbors” Possible snub: Goggins
Brown, Oldman and Wyle were nominated last year, with Wyle winning. Ruffalo as the grief-stricken, alcoholic FBI agent in “Task” is an easy add. That leaves one spot, and it’ll probably go to a veteran actor — Goggins, Hamm, maybe Billy Bob Thornton for “Landman” — though Peter Claffey would be a better choice as the beloved gentle giant in “A Knight of the Seven Kingdoms.”
Drama supporting actress
Katherine LaNasa, left, and Sepideh Moafi in “The Pitt.”
(Warrick Page / HBO Max)
Isa Briones, “The Pitt” Taylor Dearden, “The Pitt” Allison Janney, “The Diplomat” Katherine LaNasa, “The Pitt” Sepideh Moafi, “The Pitt” Julianne Nicholson, “Paradise” Karolina Wydra, “Pluribus”
Possible surprise: Fiona Dourif, “The Pitt” Possible snub: Briones
Last year, “The White Lotus” accounted for four of the category’s nominees. In its absence, the women from “The Pitt” figure to equal that number and perhaps even surpass it, though it’s hard to see voters bypassing past favorites Janney and Nicholson or overlooking Wydra’s subtle work as the emotionless emissary of the alien hive mind in “Pluribus.” Then again, understated performances often go unrewarded. Just ask Wydra’s co-star Seehorn.
Drama supporting actor
Patrick Ball stars in Season 2 of “The Pitt.”
(HBO Max)
Patrick Ball, “The Pitt” Billy Crudup, “The Morning Show” Shawn Hatosy, “The Pitt” Gerran Howell, “The Pitt” Jack Lowden, “Slow Horses” Tom Pelphrey, “Task” Carlos-Manuel Vesga, “Pluribus”
Possible surprise: James Marsden, “Paradise” Possible snub: Vesga
Will we ever know what this category would look like if “Severance,” “The White Lotus” and “The Pitt” aired seasons during the same eligibility window? I’m not holding my breath. But with “Severance” and “The White Lotus” vacating six of the seven supporting actor slots from last year, there’s plenty of room for old favorites (Lowden, Crudup) and new (Vesga for his nonverbal brilliance in “Pluribus”) as well a trio of standouts from “The Pitt.”
Limited series
The cast of “Beef” Season 2.
(Netflix)
“The Beast in Me” “Beef” “DTF St. Louis” “Half Man” “Love Story”
Possible surprise: “All Her Fault” Possible snub: “Half Man”
It wasn’t exactly a banner year for limited series with only “Love Story” sparking cultural discourse — mostly for all the wrong reasons. Richard Gadd’s “Half Man” was provocative with its brutally violent look at male rage and unresolved trauma. But you can’t permeate the culture if viewers refuse to watch the second episode. That leaves “Beef,” Lee Sung Jin’s anthology series about enmity, envy and the multiple ways that blood orange juice can be made, as the presumptive front-runner. “DTF St. Louis,” the strange, affecting look at suburban loneliness, belongs at the head of the pack.
Limited series / TV movie actress
Sarah Pidgeon as Carolyn Bessette in “Love Story.”
(FX)
Claire Danes, “The Beast in Me” Sally Field, “Remarkably Bright Creatures” Carey Mulligan, “Beef” Sarah Pidgeon, “Love Story” Sarah Snook, “All Her Fault”
Possible surprise: Kerry Washington, “Imperfect Women” Possible snub: Field
Paul Anthony Kelly as John F. Kennedy Jr. in “Love Story.”
(FX)
Jason Bateman, “Black Rabbit” Charlie Hunnam, “Monster: The Ed Gein Story” Oscar Isaac, “Beef” Paul Anthony Kelly, “Love Story” Matthew Rhys, “The Beast in Me”
Possible surprise: Jamie Bell, “Half Man” Possible snub: Bateman
Linda Cardellini, “DTF St. Louis” Grace Gummer, “Love Story” Laurie Metcalf, “Monster: The Ed Gein Story” Cailee Spaeny, “Beef” Naomi Watts, “Love Story” Yuh-Jung Youn, “Beef”
Possible surprise: Constance Zimmer, “Love Story” Possible snub: Cardellini
Misplaced or otherwise, all the best performances from limited series are in supporting this year, including Spaeny’s scene-stealing schemer in “Beef” and Cardellini’s passive-aggressive perfection in “DTF: St. Louis.”
Limited series / TV movie supporting actor
Jason Bateman and David Harbour in “DTF St. Louis.”
(Tina Rowden)
Jonathan Banks, “The Beast in Me” Jason Bateman, “DTF St. Louis” Richard Gadd, “Half Man” David Harbour, “DTF St. Louis” Charles Melton, “Beef” Alessandro Nivola, “Love Story”
Possible surprise: Troy Kotsur, “Black Rabbit” Possible snub: Banks
And here you have Melton’s vulnerable people-pleaser trying his best to find the right color of Gatorade for Spaeny in “Beef” and unlikely BFFs Bateman and Harbour burrowing into the mind of the suburban American male in “DTF: St. Louis.”
Lionel Richie appears to be on the mend from the unspecified health issue that prompted him to cancel a pair of concerts in June.
The 77-year-old Grammy-winning “Hello” and “All Night Long” singer on Sunday thanked fans for “every message, every kind word and for all your love” on Instagram, sharing photos from recent concerts. He also seemingly addressed his health, writing, “I’m doing well, and I’m grateful for all of you.”
In late June, Richie unexpectedly hit pause on his concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times while performing “Dancing on the Ceiling.” According to videos shared on social media, the singer told his audience that he felt “dizzy.” Later in the evening saxophonist Dino Soldo told concert attendees that Richie was “not feeling well” and would not continue the show.
TMZ reported at the time that the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution. Richie then postponed his following concerts at Chicago’s United Center and the Schottenstein Center in Columbus, Ohio. He returned to the stage June 30 for his show in Pittsburgh.
“Pittsburgh and Detroit were an absolute joy,” Richie said Sunday of his recent concerts. “The energy, the dancing, the faces in the crowd … we made real memories together.” The singer also performed in Toronto on Saturday and in Montreal on Sunday. He is next set to perform in Boston on Wednesday.
Live Nation unveiled Richie and Earth, Wind & Fire’s joint tour in January, revealing a 26-city lineup with concerts in Chicago, Orlando, Fla., San Francisco and Los Angeles. Richie and the group are scheduled to play Inglewood’s Intuit Dome on Aug. 9. The tour ends Aug. 14 with a show at the Moody Center in Austin, Texas.
Gary Barlow has shared an emotional statement about Take That’s Circus tourCredit: GettyThe boy band have been touring the UK with their iconic tour that first debuted back in 2009Credit: Getty
But in a candid new statement, Gary revealed ‘with a heavy heart’ that it’s unlikely the Circus tour will ever return again as he opened up on the physical toll of the tour.
“Best tour ever – to say that 35 years into our career is saying something #circuslive,” he began. “And another tour comes to a close.
“Somehow, this one feels a little different. With the other tours, it’s always comforting to know there will almost definitely be a next time. But I’m pretty sure this tour won’t return.
“I was 38 when we originally did this show, and I have to say it’s been a whole other challenge doing it as a 55-year-old,” he admitted. “I just can’t see a way I could physically do this show again.
Gary, Mark and Howard immerse themselves in the circus experience for the live showsCredit: GettyThe trio even take turns on a unicycleCredit: Getty
“So, it’s with an extremely heavy heart that I leave The Circus in my past. I got to run away with The Circus twice. Now I’m running towards our next exciting, brand new show.”
Fans were quick to congratulate Gary on another brilliant tour reacting to his statement online.
“We came to the circus with you & you were phenomenal, one of the most magical days of my life, last Saturday in London,” wrote one user on X. “You boys did yourselves & the Circus proud.”
While another penned: “Thank you for bringing this amazing show again. Watched it back in 2009 and 16 yrs later you guys did not disappoint.”
Mark Owen, Gary Barlow and Howard Donald make up the current members of Take ThatCredit: GettyThe original five-piece included Robbie Williams and Jason Orange who have since quit Take ThatCredit: Getty
Others agreed, calling it a ‘magical experience’ seeing it live again, with one fan thrilled at having seen it in 2026 having missed out on the 2009 experience.
“Utterly amazing,” they tweeted. “I didn’t get to the first Circus tour and vowed to try and get to every tour after watching on DVD. So glad you did a second Circus tour. Box ticked.”
Despite just finishing up the Circus tour, Gary, Mark and Howard have no plans to slow down as they begin promo on a new single.
Sweet July dropped on Friday and is available to stream now.
The trader-turned-campaigner argues that drastic steps need to be taken to close the UK’s huge wealth gap
Gary Stevenson has come up with a way of solving the country’s poverty crisis – but not everyone likes it(Image: Rob Parfitt / Channel 4)
Millionaire trader-turned-inequality campaigner Gary Stevenson is proposing a 2% annual tax on all those who have wealth above £10million in the UK.
The TV presenter will set out his argument in a Channel 4 programme in which he explores the growing concentration of wealth in Britain. He says that the UK’s poorest billionaire, with a wealth of just £1billion, makes £50 million a year in passive income at a rate of just 5%. That is nearly £1million every week, without getting out of bed.
And Gary, 40, argues that if nothing changes, the concentration of wealth at the top will only accelerate. “If this continues, it is inevitable that the billionaires and the super-rich will own a larger and larger share of the real wealth of this country, meaning other groups in society, the working class, the middle class, and the government will progressively own less and less.
“If we do not do anything about this system then very, very quickly the billionaires will own everything, and you will own nothing.”
In the UK, the richest 56 people have equal wealth to 27million people. In 2025 alone, the average billionaire grew their wealth by £231million. Meanwhile wages, in real terms, are lower than they were almost 20 years ago and the average student debt in England has soared from £3,200 in 2000 to £53,000 today.
Taxing wealth rather than income is not a new idea – Norway, Switzerland and Spain already have wealth taxes. Under his proposal, a person worth £11 million would pay £20,000 in tax a year, while some one worth one billion would pay £20 million.
Some estimates suggest that this system could raise £24billion annually, enough to fund the NHS, build affordable housing or cut taxes for workers who are on lower incomes.
A poll of 4,142 British adults found that 75% of the public support a wealth tax along with many experts. Gabriel Zucman, Professor of Economics, tells Gary: “There is a problem in our tax systems which is that the very rich have lower effective tax rates than the rest of the population.”
But there are plenty of billionaires, aristocrats, tax experts and finance influencers who argue against it. In the programme Reform party donor and billionaire entrepreneur Bassim Haidar – whose wealth is growing at around 12% a year, says that if it happened, he’d sell his businesses and quit Britain. “I would exit completely. Yeah, even if I sell them at a loss, I don’t care, cause it becomes a matter of principle. Wealth is mobile, so I’ll walk away. And listen, I’ll take a hit for one year, that’s fine. But then I’ll go, and I’ll never come back.”
Gary, who grew up in Ilford, east London, the son of a postman, thinks Haidar is scaremongering. “Rich people generate the majority of their income from owning assets. Your house, your supermarket, the farms that grow your food, the power plants that create your energy,” he argues. “Many wealthy people own assets which are fundamentally fixed to this country.”
He also discovers wealthy people who are quite happy to give a bit more. Julia Davies, who made her fortune building an accessories business and is a member of a group called Patriotic Millionaires, is one of them: “We’ve got to stop normalising this idea that it is normal to try and avoid contributing to public services and infrastructure, if you can massively afford to do that. I’m a millionaire, I’m not going anywhere. Why would I uproot myself and my family just to avoid contributing a bit more?”
– How to Get Filthy Rich with Gary Stevenson, Wednesday 8 July, 9pm, Channel 4
In New York, the Brooklyn Bridge went up in flames briefly during a fireworks display. In Washington D.C., stormy weather delayed a grievance-filled speech by President Trump.
And here in Los Angeles? On Saturday night, tens of thousands of Angelenos joined voices peacefully at the L.A. Memorial Coliseum to sing along with Chris Stapleton as the country star compared a lover to Tennessee whiskey.
A unifying cultural figure beloved by both liberals and conservatives, Stapleton was the headlining act at a Fourth of July benefit concert that also featured Smashing Pumpkins, Chaka Khan, Maren Morris and Queen Latifah. (I’d be surprised if those five names had previously appeared together in the same sentence.) The show, with tickets priced at $17.76, was presented by America250, a bipartisan commission that Congress created in 2016 to plan celebrations for the country’s 250th birthday; proceeds went to Feeding America, which calls itself the largest domestic hunger-relief organization in the United States.
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“No politics — just purpose” is how America250 Chair Rosie Rios described the night in remarks from the stage, and it wasn’t hard to interpret the distinction she was seeking to draw between her group and Freedom 250, Trump’s rival semiquincentennial initiative that organized Saturday’s windblown event on the National Mall (not to mention an earlier concert by Vanilla Ice that was called off due to the threat of rain).
But here’s the thing: Compared with the president’s celebration, where he complained about his treatment by the justice system and suggested we should refer to his current term as his third, the show at the Coliseum really did feel like a politics-free zone — the somewhat rare occasion these days when folks from different walks of life come together just to listen to music and drink overpriced micheladas.
Said Stapleton not long into his set: “I won’t waste time talking.”
America250’s success was hardly a sure thing. Despite the relatively low price, tickets moved slowly in the weeks before the concert; one guy I talked to Saturday told me he’d paid six bucks for a discounted pass. Yet to my eyes the Coliseum was close to full by the time Stapleton came on.
The country singer was as solid and soulful as always, snarling gently through “Bad as I Used to Be,” then trading loving harmonies with his wife, Morgane, in “Millionaire.” He closed with “Tennessee Whiskey,” of course — a trusty yet somehow un-shopworn piece of Americana that’s earned a place on the shelf next to Ray Charles’ “Georgia on My Mind” and Willie Nelson’s “Angel Flying Too Close to the Ground.”
Smashing Pumpkins was perhaps a stranger fit for an explicitly patriotic event — “The world is a vampire,” frontman Billy Corgan sneered in “Bullet With Butterfly Wings” — yet the band sounded sharp and punchy in the ’90s alt-rock hits that have brought zoomers and even Gen Alpha kids into its audience.
Billed not inaccurately on the concert’s poster as “the legendary Chaka Khan,” the 73-year-old funk doyenne flexed her vocal chops in jammy renditions of “Ain’t Nobody” and “Tell Me Something Good” and got people hoisting their drinks for “I’m Every Woman.” Morris, who’d flown in from New York after attending her pal Taylor Swift’s wedding on Friday night, made an improbably smooth segue between her and Zedd’s synthed-up “The Middle” and the rustic “My Church.”
As the show’s host, Queen Latifah dispensed uplifting thoughts about American idealism throughout the evening but also got a slot of her own to do her classic “U.N.I.T.Y.” with help from a rambunctious drum line. It’s an unapologetic message song about demanding respect, and what was moving about hearing it here is that nobody seemed put off by that idea.
LISA Faulkner and John Torode have been dealt another blow following her breast cancer diagnosis earlier this week.
The TV couple have reportedly learned that their cookery show, John & Lisa’s Weekend Kitchen, has been shelved after ten series.
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Lisa and John’s Weekend Kitchen has reportedly been shelved after ten series on ITVCredit: PAThe couple have become familiar faces on ITV thanks to their long-running cookery seriesCredit: Shutterstock Editorial
Amid ongoing budget cuts at ITV, the show is notably absent from upcoming schedules.
According to The Mirror, the couple remain hopeful that the popular cookery programme could return to the channel at a later date.
An insider told the publication: “John remains a regular contributor to This Morning, where he has been fully supported by everyone, including hosts Ben Shephard and Cat Deeley.
“The truth is there are no current plans for series 11 of Weekend Kitchen but no final decision has yet been made over whether it will return in the future.
The couple have fronted their popular weekend cookery show together for ten seriesCredit: PAThe latest blow comes after Lisa revealed she had been diagnosed with breast cancerCredit: Instagram
“And John is very much a part of the ITV family through his role as a regular chef on This Morning.”
ITV confirmed that no final decisions have been made yet regarding the future of the show.
The news comes after John suffered a major career setback last year when he left MasterChef.
An inquiry, ordered by MasterChef’s production company, upheld a claim that the chef had used an “extremely offensive racist term”, which he said he had “no recollection of”, and he subsequently departed the show.
His wife Lisa announced her shock cancer diagnosis on Thursday, revealing that she had already undergone surgery and was awaiting a course of radiotherapy.
Lisa is best known for her acting roles in shows including Holby City and EastEnders, and in recent years has carved out a successful career as a TV chef.
She won Celebrity MasterChef in 2010 before going on to front John & Lisa’s Weekend Kitchen alongside her husband.
In 2016, Nakajima received psychiatric care at Cedars-Sinai Medical Center, diagnosed with depression, PTSD and suicidal ideation. Her doctors searched for ways to manage her stress by exposing her to various activities, including video games, serene Icelandic landscapes and an aerial silks performance. The last brought her anxiety down, revealing that the arts were the answer. Her doctor prescribed the arts, comedy specifically, so she went to the Upright Citizens Brigade for class.
She found a calling and a safe space in comedy.
“I didn’t know I was born a comedian,” Nakajima said. “Finally, I really felt I was accepted as a comedian, validated for who I am.”
Nakajima shares her healing journey to the stage in “Made in America,” which just had an encore performance at UCB on Tuesday after its award-winning run in 2022 (it is also available for streaming on UCB’s website through Tuesday). The one-woman show arrives in time for the United States’ 250th anniversary on Saturday, documenting Nakajima’s search for the American dream as a first-generation Japanese American woman. “Made in America” premiered in 2022 at the Hollywood Fringe Festival during Joe Biden’s presidency and following the Jan. 6 United States Capitol attack. In 2026, its musings on identity and belonging pierce through today’s political landscape shaped by Donald Trump’s second presidency.
“I wanted to let people know this is an American story,” she said.
“Made in America” is about Nakajima’s life. It begins in her mother’s womb. She felt so safe there, she yearned to return. Growing up, she experienced an emotionally and physically abusive life at home, recalling her father breaking furniture and her mother’s alcohol-induced belittling comments. But her name, Teruko, translates to a “shining child.” Thus, she proclaims in the show, “I’m a superstar!”
The beauty in “Made in America” is Nakajima’s ability to find the humor in her trauma. When the show transitions to her life in America, she talks about her life as a dominatrix in New York City and her struggles with romance in Los Angeles. Her comedic jabs at the American economy and humorous reflections juxtapose somber moments of stillness in the midst of her struggles. This balance puts her life into perspective, revealing a positive personality beneath a dark saga.
Nakajima performs “Made in America” at Upright Citizens Brigade Theater.
(Nick Rasmussen)
“I look very happy-go-lucky and cheerful, but actually, I am a very dark person because I have a dark history,” she said. “I always wanted to leave my story behind. I wanted to leave my mark in this world before I died, so I needed to make something.”
The first class Nakajima took at UCB was John Flynn’s storytelling course. There, she started building pieces of the show without realizing it. As they added up, the idea for a show surfaced. After class one day, she asked Flynn to direct it. Flynn, who has been teaching at UCB in New York and L.A. for about 20 years, agreed.
“She disarms people,” Flynn said. “There’s something about her that is just so unique and so delightful that you won’t forget her.”
Flynn first met her at his storytelling open mic. She walked in with her emotional support dog Titi (also known as Tiny Teruko), wearing her signature red heart-framed glasses, without lenses. Soon, these glasses would make him double over in laughter when she performed and cried, dabbing her eyes with tissue through the frame.
“When you start to learn her story and the experiences she’s had, it is amazing that she is so positive,” he said. “She’s such a sort of undeniable positive energy that she just radiates all the time, which is so compelling and why people are so drawn to her.”
Revived at UCB amid Trump’s second term and the nation’s 250th birthday, Nakajima’s show doubles as a defiant immigrant love letter to America — and a refuge for audiences feeling alone.
(Nick Rasmussen)
Nakajima puts all of herself into the show. Aside from comedy, she has been a cheerleader in Japan, a salsa dancer in New York and a sculptor on the side — she loves sculpting MLB players’ butts; Derek Jeter is her favorite. In the show, she folds these aspects of her life into a single story, dancing from section to section. Comedy is more than just laughs; it’s storytelling.
“I am so good at cheering people up, since I was very little,” she said. “I had no competition with others because I’m the one and only. Nobody looks like me.”
Together, Flynn and Teruko parsed through her life stories to give the show an arc. For Flynn, it’s like carving away at what is already there to create something fun and cohesive, like a sculpture. “What’s fun about directing one-person shows like this is that it’s usually just two people in a room putting something together,” Flynn said.
Bringing the show back this year, the work gets sharper and tighter, but the biggest shift is in its conclusion. Once optimistic about the future of life in America, the show now has a stronger desire to make change. There was a sense of hope in 2022 for women like Nakajima, an immigrant who sought safety in a new country and struggled with abuse from her family and strange men. Today, as Trump’s immigration policies lean on deportation and discrimination, she simply wants to be seen.
“America, thank you for not giving up on me,” Nakajima said toward the end of the show. She is proud to be American, not just because she gets to have the same nationality as her dog Titi, but primarily because of the new life it offered her. America promised happiness. Whether it actually comes is another story, but in this one, the promise itself gave her a sense of purpose.
“After the show, people come to me in person and through messages,” she said. “A lot of people said, ‘I felt like I am not alone.’ That gives me so much hope and unity. I feel safe and like I have something to look forward to because I’m not the only one.”
Flynn realized how much he took for granted while working on the show with Nakajima. “I think, even though these are scary times and things seem to be going in directions that aren’t the best, there are still great people, and there’s something that is still there and is not dying and is still fighting,” Flynn said.
When she began her acting journey, Nakajima thought she’d turn to drama, but there’s something more unguarded in comedy.
Nakajima holding up her dog Titi during a performance of “Made in America.”
(Nick Rasmussen)
“I’m very authentic and invincible through comedy,” she said.
By the end of “Made in America,” Nakajima is no longer trying to find her way back to her mother’s womb. She is confident in her place in the world. She remembers that she is a star. She brings out her dog Titi, who was hidden on stage throughout the entire performance, and shares that UCB gave her a new outlook on life. Comedy breaks away her stresses and allows viewers to be vulnerable with her.
“I always wanted to feel safe,” she said. “I never had that. Finally, I found a safe space, and then I realized that I’m actually important. I’m actually worthy. I’m so happy right now to be able to express myself through comedy because it’s the truth.”
The country will celebrate its 250th birthday Saturday, and it seems nobody quite knows how to feel about it. Being a thoughtful American in 2026 has become an art form unto itself — a balancing act two-and-a-half centuries in the making. Marking the anniversary of the signing of the Declaration of Independence requires the acceptance of a paradox so profound that it feels almost insurmountable: The great American experiment has failed; and it is also a triumph.
I’m writing this at near midnight on a muggy night in Pennsylvania — about 300 miles from Philadelphia, where in 1776 the Continental Congress adopted a document bearing one of the most famous and idealistic lines ever written: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”
Hundreds of years later, the course of human events has once again made it necessary for us to dissolve certain bonds, only the resulting revolution has been metaphorical and waged largely online. We have become a people pitted against one another in thought and in action. In the words we write on social media, the news we choose to consume on our siloed feeds, and the way we treat those who believe differently than we do.
How do we come together to celebrate the monumental achievement of this improbable democracy, which should be made stronger through our respectful disagreements and ability to compromise in search of a higher truth? It may be foolish to say we must lead with kindness when so much raw anger abounds, but that is all we can do. It is what we must do.
Art can help — the music, paintings, dances and plays that remind us in myriad ways that we are not alone. You’ll have access to plenty of such sustenance on this highly anticipated anniversary weekend. So if you are, like me, facing the fireworks with trepidation, find a way to lock into a favorite song, or read a poem that moves you, and the worry will pass. It always does.
I’m Arts editor Jessica Gelt, watching the fireflies. This is your arts and culture news for the week.
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The week ahead: A curated calendar
SATURDAY
Richard Dreyfuss, left, Roy Scheider and Robert Shaw in the 1975 movie “Jaws.”
(Universal Pictures)
Jaws Just when you thought it was safe to go back to the theater, a series of shark attacks are expected across the city Saturday afternoon as Steven Spielberg’s 1975 blockbuster screens at the Academy Museum’s David Geffen Theater (in 4K), the American Cinematheque’s Aero Theatre (in 35 mm) and Vidiots’ Eagle Theatre. 2:30 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org; 3 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com; 1 and 4:30 p.m. Vidiots Eagle Theater, 4884 Eagle Rock Blvd., Eagle Rock. vidiotsfoundation.org
TUESDAY
National Museum of the Aftermath screening series Kevin Jerome Everson and Claudrena N. Harolds’ short film “Foosball: U. of Virginia Charlottesville, VA 1976” (2013), inspired by a photograph of two students playing a game, examines Black life at UVA; and Andrea Fraser’s feature documentary “This meeting is being recorded” (2022) gathers a group of a self-identifying white women to discuss unconscious racism and their own roles in white supremacy. 6 p.m. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu
WEDNESDAY
Brian Quijada, left, and Nygel D. Robinson in “Mexodus.”
(Thomas Mundell)
Mexodus Direct from an award-winning off-Broadway run, this new musical created and performed by Brian Quijada and Nygel D. Robinson illuminates a lesser-known fork of the Underground Railroad, one that branched south across the Rio Grande. Previews, 8 p.m. Wednesday, 7 p.m. Thursday, 8 p.m. July 10, 2 and 8 p.m. July 11; continues through Aug. 2. Pasadena Playhouse, 39 S. El Molino Ave. pasadenaplayhouse.org
New Swan Shakespeare Festival.
(New Swan Shakespeare Festival)
New Swan Shakespeare Festival The annual summer-long event, featuring professional theater artists, UC Irvine alums, current graduate and undergraduate drama students and faculty, returns for another repertory season of classics under the stars at its intimate, 130-seat, portable, mini-Elizabethan space. “Romeo & Juliet,” directed by Rachael VanWormer, resets the tragic romance to the American Dust Bowl; “The Merry Wives of Windsor Cove,” adapted by Anna Fitzgerald & Eli Simon, with music by Zachary Dietz and directed by founding Artistic Director Eli Simon, brings the rollicking comedy to a 1950s SoCal surf town, powered by a live skiffle band. “Romeo & Juliet,” 8 p.m. Tuesday and Thursday, and various dates through Aug. 29. “Merry Wives,” 8 p.m. Wednesday, and various dates through Aug. 30. UC Irvine campus, 4000 Campus Drive. newswanshakespeare.com
Wilkins Conducts Bernstein & Ellington Thomas Wilkins guides the L.A. Philharmonic in a program of classical Americana featuring selections from Valerie Coleman, William Grant Still, a newly arranged song cycle from Shaina Taub’s Broadway hit “Suffs,” Leonard Bernstein and Duke Ellington. 8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com
Zoot Suit Join writer-director Luis Valdez and star Edward James Olmos for a 45th anniversary screening of the film, an adaptation of Valdez’s groundbreaking play, the truly L.A. story of the 1942 Sleepy Lagoon case and Zoot Suit Riots. Audiences are encouraged to come in costume and arrive early for the “Pachuco Boogie!” Produced in partnership with the Los Angeles Latino International Film Festival, Self Help Graphics and Pachuco Car Club. 8 p.m. The Ford Ampitheatre, 2580 Cahuenga Blvd. East. theford.com
THURSDAY
Randal Goosby.
(L.A. Phil)
The Classical World Cup Tito Muñoz conducts the L.A. Phil in a salute to “the beautiful game” (soccer to Americans) with works spanning the Americas by Alberto Ginastera, Samuel Barber (with Randal Goosby on violin), Silvestre Revueltas and Aaron Copland; plus the world premiere of “The Art of the Goal,” an original mixed-media concept film by director Josh Kahn and composer Adam Schoenberg. Commissioned by the L.A. Phil, the piece blends footage of elite training and match play featuring the Los Angeles Football Club with orchestral music. 8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com
The SoCal scene
(Matt Chase / For The Times)
Celebrations for the country’s 250th birthday have been muted thus far (at least compared to the bicentennial 50 years ago), but our Entertainment and Arts team noted the moment by examining the ways the artists we cover have interpreted the nation’s complex history. Times theater critic Charles McNulty wrote that a “cohort of playwrights, breathtakingly diverse demographically as well as aesthetically, has been rejuvenating American theater.” Contributor Shana Nys Dambrot looked to local museums and identified nine works of art “exploring and expounding upon, in celebration and critique, what it means and what it feels like to be an American.” Times classical music critic Mark Swed compared the artistic and institutional responses of 2026 to the past, lamenting that “None of this comes close to comparing with the attempted civic zest of 1976.” Check out the rest of the collection of stories and essays, including Mary McNamara’s column reminding us that even in troubled times 250 years is worth celebrating because “the Constitution was written ‘in order to form a more perfect union.’ Not ‘perfect,’ but ‘more perfect.’ As in better,” and a list of 10 essential movies that capture crucible moments in U.S. history; find out what Times pop music critic Mikael Wood calls the “quintessential American song,” and which books are being read in L.A. high schools and which classics remain relevant.
Carene Rose Mekertichyan , left, and Brent Charles in “Coriolanus” at the Griffith Park Free Shakespeare Festival.
(Grettel Cortes)
It’s summer and that means that outdoor theater is upon us and McNulty reviewed the Independent Shakespeare Co.’s Griffith Park Free Shakespeare Festival production of “Coriolanus.” “It’s hard to love ‘Coriolanus,’ but it’s equally hard not to be impressed by its ambition, originality and dramatic rigor,” wrote McNulty. This “production isn’t going to win awards for subtlety, but the storytelling is crisp and vivid. And even those unfamiliar with the tale — the vast majority of attendees, in all likelihood — should find it engrossing.”
It’s hard to believe that the ABBA jukebox musical “Mamma Mia!” premiered 25 years ago. Times staff writer Eloise Rollins-Fife went backstage at the Ahmanson Theatre to visit with the behind-the-scenes crew who put so much joy into the sequin-bedazzled extravaganza on display in the show’s anniversary tour — many of whom worked on the original production and tours.
Hollywood set painters whose work in the Tinseltown dream machine often went overlooked and uncredited are getting their due in “Staging California in Early Hollywood” at the UC Irvine Langson Orange County Museum of Art in Costa Mesa. Times staff writer Julius Miller spoke with museum director Kathryn Kanjo and assistant curator Michaëla Mohrmann about the institution’s first exhibition since UC Irvine acquired OCMA last September and Kanjo’s appointment in December.
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Rosalie Tucker, executive director of Pieter Performance Space (standing left); Andrew Pearson of Bodies in Play (second from left); Lena Martin (second from right) and Mandolin Burns (right) of Crawlspace; Dani Burd of Indigo Dance Company (bottom left); and Adie San Diego (bottom right).
The Centre Theatre Group announced that a world tour of the acclaimed stage adaptation of Hayao Miyazaki’s Academy Award-winning animated film “Spirited Away” will open the Ahmanson Theare’s 2027-28 season. “We are honored to bring the wonder of ‘Spirited Away’ to the Ahmanson Theatre for an exclusive US engagement, offering our community the gift of experiencing one of the most cherished stories of our time, reimagined for the stage in a once-in-a-generation theatrical experience,” said Douglas C. Baker, Center Theatre Group producing director, in a statement. The production, from Toho Co., will open at the National Theater in Taipei on Dec. 16, before continuing on a national tour of Japan from March-August 2027, followed by stops at the Princess of Wales Theatre, Toronto (May-August 2027), and the Ahmanson (September–October 2027). The tour will conclude with a return to the London Coliseum (March-July 2028), where it had its European premiere in 2024 following a sold-out tour of Japan in 2022. Casting will be announced at a later date.
The British theater lost two stalwarts this week. Penelope Keith, best known for the sitcoms “The Good Life,” which aired on PBS in the U.S. as “Good Neighbors,” and “To the Manor Born,” has died at age 86. Keith joined the Royal Shakespeare Co. in 1963, won a BAFTA Award in 1977 for “The Good Life” and continued her stage career into her 80s. The New York Times reported that Michael Byrne, a noted actor of stage and screen, also died this week at 86. Byrne created the role of the suspected torturer Dr. Miranda in the premiere production of Ariel Dorfman’s 1991 play “Death and the Maiden” in London. Other notable theater roles were with Siân Phillips in “Juliet and Her Romeo,” Polonius in “Hamlet,” Cassius in “Julius Caesar” and Prince Hal in “Henry IV.” The actor also appeared in films such as “Force 10 from Navarone,” “Indiana Jones and the Last Crusade,” “Braveheart,” “Gangs of New York” and “Harry Potter and the Deathly Hallows: Part 1.”
— Kevin Crust
And last but not least
If pyrotechnics (or drone shows!) are your thing and you’d like to celebrate the Fourth of July with a bang, Times staff writer Christopher Buchanan compiled 52 places and favorite spots to watch the festivities in Southern California.
