This article contains spoilers for the series finale of “Hacks.”
After five seasons and (thus far) 12 Emmys, “Hacks” has come to an end. The story of how Deborah Vance (Jean Smart), a 70-something comedian of the Joan Rivers type, and Ava Daniels (Hannah Einbinder), a prickly 20-something comedy writer, came together to resurrect both their careers was a roller coaster ride of intergenerational judgment, wins, setbacks, ruthless behavior, personal growth, power reclamation and much general hilarity.
Deborah sees Ava as entitled and self-righteous, Ava sees Deborah as washed-up and boring. Eventually, of course, they realize they are kindred spirits who do their best work together.
In Season 5, Deborah attempts yet another comeback. Having walked off her late-night show rather than fire Ava in Season 4, she is determined to rewrite her premature obituary by playing Madison Square Garden. When that too is snatched away, she pivots (with much difficulty and hilarity, including a show-stopping monologue by Laurie Metcalf’s tour manager Weed) to Central Park, where she is finally allowed a moment of glory, basking in the adulation of applauding thousands.
But that is not the end of “Hacks.” In the final episode, Deborah reveals she has cancer and rather than undergo treatment, she is choosing to “go out on top” with the aid of a Zurich clinic. She asks Ava to accompany her, after they take a girls trip to Paris. After an emotional meltdown, Ava agrees, hoping to persuade Deborah to change her mind. She does, but only after Deborah realizes that she cannot bear to walk away from the jokes she could write about dying. And so the show ends, with the two women walking arm in arm, first in Paris and then in Las Vegas, working on Deborah Vance’s final show.
Here, Times TV and culture critics Robert Lloyd and Mary McNamara discuss the ending, and legacy, of “Hacks.”
Deborah, left, decides she doesn’t want to get treatment for cancer despite Ava’s protests. Deborah changes her mind when she realizes she could write jokes about dying.
(HBO Max)
Mary McNamara: Hey there, Robert; are you as devastated as I am that we have no more “Hacks” to look forward to? The only solace I can find is the news that creators Lucia Aniello, Paul W. Downs and Jen Statsky are planning to release a DVD box set of the series. And the possibility that there could be a movie sequel — I for one want to see Deborah Vance’s death tour, especially since you know she’ll beat the odds and survive.
Seriously, though, sad as I am to contemplate life without “Hacks,” I am equally thrilled that the show so thoroughly stuck its landing. Finales are always a crap shoot and I appreciated how this season managed to show growth and cosmic justice while never tipping into treacle. I love that everyone ended on a win — including Marty! (Christopher McDonald) — and I didn’t even mind that suddenly Deborah had cancer (what?), was choosing assisted suicide (double what?) or that we were whisked to Paris (sure, I guess, why not?) because it made just enough narrative sense to set up Deborah’s decision to live because she just couldn’t leave good material on the table. “I may not have 30 years, but I do have one more hour,” may be the best line from a TV finale ever.
It is too easy to think of people like Deborah as clawing back their careers for fame, validation or money rather than a deep and essential love of their art. Having Deborah decide to prolong her life with chemo because she could not resist mining this final seam of comedic gold was a coup de grace.
What did you think?
Robert Lloyd: Hail, Mary. Reviewing the first-season finale, I wrote that the series was at heart a romantic comedy. And though many timely points were made along the way about artificial intelligence, the fate of late-night television and the awfulness of rich jerks who control media companies — Deborah’s Madison Square Garden show was undermined by the network head she named on national television in her resignation speech — the show asserted itself as a love story once again in the end. Where earlier seasons had depended on creating friction between Deborah and Ava, this one was mostly of concord, their only real clash being Deborah’s decision, introduced late in the season, to end her life (in a clean, posh way); her climactic change of heart spared us a medical tearjerker, but, believe me, I shed plenty of tears along the way. Unlike most seasons of “Hacks,” the fifth and final was orchestrated very much as a feel-good experience — “Ted Lasso” has nothing on it. A fairy tale, almost, as you point out, full of fairy-tale endings and plot points that were as good as magic. It could be contrived and improbable and old-fashioned in its triumphs snatched from the jaws of defeat, and I completely loved it.
Deborah Vance (Jean Smart) didn’t get the Madison Square Garden show she imagined, but she did get one at Central Park.
(HBO Max)
McNamara: The series had a lot to say about a lot of things (including vengeful power brokers/network executives) that feel particularly pointed now. But I deeply appreciated that while underlining the real obstacles Deborah and Ava faced, the writers showcased and explored how the bad choices each women had made, and defended, also contributed to their situations. Obviously having the great Jean Smart in the driver’s seat helped a lot — she revealed the woman beneath the diva even in Deborah’s most outrageous actions. The writers did not shy away from calling attention to the blatant sexism female comedians faced (and continue to face) or how the “woke” women of Ava’s generation are often able to see that kind of injustice more clearly.
It was, as you say, more rom-com than morality play, and rom-coms are often based on discovering that the differences that initially divide are too often based on, well, to put it in its original form, pride and prejudice. So while there was some hilarious and spot-on commentary about intergenerational miscommunication, there was also a clear message of how important it is for people with vastly different experiences to listen to, and learn from each other, which also feels incredibly important at this moment in time, especially given the show’s essential, and deeply human, respect for creative work. What motivated Deborah and Ava, and virtually every character in “Hacks” — agent Jimmy (Downs), his assistant Kayla (Megan Stalter) and later Randi (Robby Hoffman); Deborah’s staff, including Marcus (Carl Clemons Hopkins), Damien (Mark Indelicato) and Josefina (Rose Abdoo) — was a belief in the importance, and difficulty, of the creative process. It’s something that is rarely, if ever, the work of a single individual — as Deborah finally acknowledges at the opening of the Diva casino. Or as Laurie Metcalf’s Weed makes clear in her hilarious monologue before the Central Park gig.
1
2
1.Creativity isn’t the work of a single individual: Damien (Mark Indelicato), Marcus (Carl Clemons-Hopkins) and Deborah (Jean Smart) at work on the casino.(HBO Max)2.Deborah’s crew at her Central Park show.(HBO Max)
Lloyd: In a way Deborah’s speech summed up what we’d already been seeing through an especially generous season that served as “Hacks’” tribute to itself and its people. It was a party to which most every significant and many minor characters were invited, including Metcalf and McDonald; Luenell as comedian Miss Loretta; Poppy Liu as Deborah’s personal blackjack dealer, Kiki; Jane Adams as Ava’s mother, Nina; J. Smith-Cameron as Deborah’s estranged sister, Kathy; and Kaitlin Olson as Deborah’s daughter, DJ, who finally got her mom to partner with her on “The Amazing Race” and was allowed to sell her detachable earrings on QVC.
Gifts were distributed widely, including a previously unseen interview with Deborah’s late husband and co-star, Frank (Peter Strauss), giving her credit for their success — credit he had previously accepted for himself — and thus removing a giant thorn that drove the early plot. These kind-hearted acts of closure were performed both for the benefit of these very real, made-up people, and for We the Viewers, who have made them our family. Declarations, or at least demonstrations of love, were abundant, not merely between Deborah and Ava, with the characters acting as our proxies, feeling what we want them to feel, and what we feel for them ourselves. (There are moments this year when Einbinder — whose brilliance Smart could seem to outshine, but who was never less than an equal partner — absolutely killed me, just in the tender way she gazed upon Deborah.) That’s why it’s so hard to let go of a show like this, even when we know it’s time to say goodbye. You can only stretch an arc so far before it breaks.
McNamara: You’re right, of course. But I still want to see the “Hacks” movie.
After a complete shakeup at CBS’ “60 Minutes,” ousted correspondent Cecilia Vega said she had been facing pressure to insert political bias into her stories and dealing with censorship.
“I very much fear what comes next for … the future of the legendary broadcast,” Vega said in a social media post on Thursday referring to “60 Minutes.”
The latest shakeup follows multiple controversial moves by Weiss, who’s set on remaking the institution long defined by tradition. She arrived at CBS News in October with no television experience, installed by Paramount Chief Executive David Ellison after he acquired her digital news outlet, the Free Press, with a mandate to change the network.
Ellison’s pronouncements that CBS News needs to move more to the political center has led to the perception that the network is trying to placate Trump with more positive news coverage, even as “60 Minutes” has remained tough with its White House reporting.
“Our responsibility is to preserve that legacy and vital mission by building a show that thrives in the 21st century,” wrote Weiss in her note to staff. “That requires a new approach: expanding ’60 Minutes’ beyond a one-hour television broadcast, deepening its role across CBS News.”
Vega claims, in her statement, that “in recent months, my producing teams and I have experienced efforts to insert political bias into our stories.” She also said that reporting teams are holding back on submitting specific story pitches, due to the “fear of the internal repercussions.”
“Let’s call this what it is: censorship, both imposed and self-driven,” Vega wrote. “It is dangerous for the show and dangerous for democracy.”
She said that in working at “60 Minutes” she’s had to keep stories rooted in fact and away from “questionable editorial suggestions.”
“I know from many conversations with colleagues that many producing teams and correspondents working on the show today have had to fight to maintain editorial independence with regularity,” Vega said. “I am far from the only ’60 Minutes’ correspondent who has asked herself, ‘What is my personal red line? How much can I push back before I pay the price?’”
In a statement, a CBS News representative said, “We respect Ms. Vega and her contributions, but her claims are not based in reality.”
Vega joined the newsmagazine in 2023, becoming the program’s first Latina correspondent. Before that, she worked for over a decade at ABC as the network’s chief White House correspondent and co-anchoring “Good Morning America.”
Several journalists like ABC’s John Quiñones and former Univision anchor Jorge Ramos offered words of support for Vega’s remarks. Quiñones commented, “Journalism is stronger because of your voice, your courage and your story-telling, Cecilia,” and Ramos wrote in Spanish that he respects and admires her.
What’s 2,030-feet long-by-167-feet wide and blue all over? If you guessed the Lincoln Memorial Reflecting Pool, you’re right!
Bonus points for triggering someone in your immediate orbit, because ever since President Trump announced his intention to apply blue paint to the basin of architect Henry Bacon’s 1923 pool, the mere mention of the project can make certain people’s heads explode. To wit, a lawsuit filed this month in district court by the Cultural Landscape Foundation and a former Park Service landscape architect, Charles Birnbaum, claims Trump’s actions have caused Birnbaum to suffer “aesthetic injury.”
The phrase might sound humorous at first read, but anyone who cares about art, architecture and the experience of shared public space knows there’s nothing funny about it. We’ve all felt the empty sorrow of staring into the abyss of a boxy Walmart superstore, and experienced a deep malaise of the soul when driving past an endless crush of fast food chains on the outskirts of a major metropolitan area.
It’s doubtful this sadness is shared by Trump, for whom an “aesthetic injury” might best be represented by a McDonald’s without its golden arches. Plus, our president clearly thinks a great deal of good will come from painting the reflecting pool at the center of the National Mall American Flag Blue.
Only a few days ago Trump posted what I can only assume was an AI-generated image of the final product on Truth Social. The blue in question is shockingly bright — like the sky over the Aegean Sea at noon on a cloudless day. That kind of blue can be breathtakingly beautiful, but in this case it swallows up everything around it, including the Lincoln Memorial and the Washington Monument, which it was built to reflect.
The blue pool, in other words, is the main event — and that is not what was intended by its creators. Indeed, Birnbaum’s lawsuit notes the value of various design choices including, “the grey, achromatic basin of the Reflecting Pool as the source of the pool’s profound reflective depth.”
The lawsuit continues, “The ongoing resurfacing of the basin in vivid blue has materially degraded Mr. Birnbaum’s aesthetic experience. Mr. Birnbaum’s aesthetic enjoyment of the Reflecting Pool — as a historic designed landscape whose character he has documented, championed, and personally appreciated over many years — is being concretely harmed by Defendants’ ongoing alteration of its character defining features.”
Many other critics and vocal members of the public have claimed similar harm resulting from the numerous renovations Trump is making in the nation’s Capitol — mostly without court approval or congressional oversight — including his demolition of the White House’s East Wing, his construction of a massive ballroom to replace it, the building of a towering triumphal arch, and the creation of a Hero’s Garden in a public park space along the Potomac river.
Painting the Reflecting Pool American Flag Blue may not be the most intrusive of these impulsive, self-aggrandizing acts, but it was the pigment that broke the camel’s back.
I’m Arts editor Jessica Gelt, in blue. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Gustavo Dudamel conducting the 2025-26 season opener at Walt Disney Concert Hall on September 25.
(Timothy Norris/Los Angeles Philharmonic)
Gustavo Dudamel and the Los Angeles Philharmonic The departing maestro and his colleagues are in the homestretch and it’s a busy one. This weekend, there are performances of world premieres of Roberto Sierra’s “Estudios Sinfónicos” (Friday and Sunday) and Angélica Negrón’s “Mundillo (Little World)” (Saturday, featuring YoYo Ma). Both new works are paired with Richard Strauss’ “Ein Heldenleben, Op. 40.” On Thursday, Dudamel celebrates the musicians of the L.A. Phil with an eclectic program including compositions by Rossini, Paganini, Mozart, Mendelssohn, Tchaikovsky and Philip Glass, plus the world premieres of “Bravo Gustavo!” by John Williams and Gabriela Ortiz’s “Mujer Arena.” Strauss, 11 a.m. Friday; 2 p.m. Sunday; Yo-Yo Ma, 8 p.m. Saturday; Celebrating the Musicians of the L.A. Phil, 8 p.m. Thursday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Grangeville A 2025 drama by the bard of Idaho, Samuel D. Hunter, the play considers the complex relationship of two half-brothers connecting virtually to discuss the care of their ailing mother. Tim Cummings and Jeff LeBeau star. Directed by John Perrin Flynn. Through July 12. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica. ruskingrouptheatre.com
How to Have Sex Again The Rebel & the Warrior, a new theater producing collective, present their first L.A. production, the world premiere of a romantic comedy by Louis Reyes McWilliams. 8 p.m. Friday, Saturday, Sunday ; 7:30 p.m. Thursday; 8 p.m. June 5; 3 and 8 p.m. June 6; and 7:30 p.m. June 7. June Odyssey Theatre, 2055 S. Sepulveda Blvd. sanguinenyc.com
Jodie Landau The composer-performer presents the West Coast premiere of “Performance of Self,” combining memoir, concert, cabaret with original chamber rock compositions, backed by a six-piece ensemble. Directed by Diana Wyenn. Part of OperaFest LA. 8 p.m. Friday and Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Let’s Get It On: The Wearable Art of Betye Saar The exhibition highlights the role of costume design in the artist’s life and work, including more than 200 objects, including photographs, drawings, garments, jewelry, artworks and historical materials from the 1950s-1970s. Opening reception, 5-7 p.m. Friday; exhibition continues through Aug. 22. Roberts Projects, 442 S. La Brea Ave. robertsprojectsla.com
Shelley Conducts America @ 250 Pacific Symphony concludes its season with incoming new music director Alexander Shelley conducting the premiere of Peter Boyer’s “American Mosaic,” with accompanying video imagery by award-winning photographer Joe Sohm. 8 p.m. Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa. pacificsymphony.org
Leslie Uggams in 1972’s ‘Black Girl.’
(UCLA Film & Television Archive)
UCLA Festival of Preservation “Don’t miss your chance to see these rarely screened films on the big screen where they belong,” writes former Times movie critic Kenneth Turan in his preview of the event. The 22nd festival, which opens with Ossie Davis’ 1972 drama “Black Girl,” presents 11 feature films, four television programs and 30 short works, cartoons and newsreels, all newly preserved and restored by the UCLA Film & Television Archive and its partners and funders. Through Sunday. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
SATURDAY
Actor Alec Baldwin will narrate “Lincoln’s Portrait,” part of Pasadena Symphony’s America @ 250 concert.
(Pasadena Symphony)
America @ 250 The Pasadena Symphony’s season ending concert, celebrating the nation’s sesquicentennial, includes John Williams’ “Liberty Fanfare,” George Gershwin’s “Concerto in F for Piano and Orchestra,” and Aaron Copland‘s “Appalachian Spring” Suite and “Lincoln Portrait,” the latter narrated by actor Alec Baldwin. 2 and 8 p.m. Ambassador Auditorium, 131 S. St. John Ave., Pasadena. pasadenasymphony-pops.org
Baroque in Bloom Soprano Amanda Forsythe joins the Los Angeles Chamber Orchestra for arias from Handel’s “Giulio Cesare” and Bach’s “Wedding Cantata.” The program also includes LACO’s principal bassoon Andrew Brady performing “Vivaldi’s Concerto for Bassoon in A minor, RV 497,” Telemann’s “Don Quixote Suite” and Biber’s “Battalia.” 7:30 p.m. Saturday. Rothenberg Hall, the Huntington, 1151 Oxford Road, San Marino; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
From Hell to Hollywood: Films Music’s First Golden Age and the Émigré Community The Scott Dunn Orchestra performs the music of Arnold Schoenberg, Max Steiner, Erich Wolfgang Korngold, Franz Waxman, Dimitri Tiomkin, Bronisław Kaper, Kurt Weill, Ernest Gold and Miklós Rózsa. 7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Life, Liberty, and Los Angeles Through historical and contemporary objects, media, art and community collaborations, the exhibition brings together stories of diverse Angelenos and demonstrates the ways their hopes and dreams built the city while reflecting the values of a burgeoning nation. Opening May 30-Jan. 31. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org
Sydney Mancasola as Pamina in LA Opera’s 2026 presentation of “The Magic Flute.”
(Cory Weaver)
The Magic Flute LA Opera music director James Conlon’s final production will be Wolfgang Amadeus Mozart’s fan favorite about a prince, a princess and an enchanted instrument. Starring Miles Mykkanen in his LA Opera debut as Prince Tamino, Sydney Mancasola as Princess Pamina, Kyle Miller as the sidekick Papageno, Aigul Khismatullina as Queen of the Night and Kwangchul Youn and Sarastro. Through June 21 Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
The Satie Project The artists of Piano Spheres perform the complete four-hand works of French composer and pianist Erik Satie, plus seven newly-commissioned response pieces, alongside the experimental puppetry David Gordezky in what promises to be a truly zany show. 8 p.m. Saturday; 2 p.m. Sunday. Boston Court Pasadena. 70 N. Mentor Ave., Pasadena. bostoncourtpasadena.org
SUNDAY
Bleak Week: The Cinema of Despair Isabelle Huppert, Ari Aster, Denis Villeneuve, Werner Herzog and many others are the scheduled guests for the fifth edition of the global festival. The L.A. festivities, featuring 48 films from 18 countries, start with Béla Tarr’s 1994 film “Sátántangó” (2 p.m. Sunday at the Aero). Through June 7. Aero Theatre, 1328 Montana Ave., Santa Monica; Egyptian Theatre, 6712 Hollywood Blvd.; Los Feliz Theatre, 1822 N Vermont Ave. americancinematheque.com
Exhibition photography for “Marilyn Monroe: Hollywood Icon” at the the Academy Museum of Motion Pictures in Los Angeles.
(Emily Shur / Academy Museum Foundation)
Marilyn Monroe: Hollywood Icon A reevaluation of the actor’s artistry and image-making, the exhibition presents hundreds of original objects, including posters, portraits, photographs, production documents, letters, and rarely seen personal materials. A companion screening series also kicks off this week. Times culture critic Mary McNamara attended the opening and wrote about the enduring mystery that still surrounds the life and legacy of the film star 100 years after her birth. “Gentleman Prefer Blondes,” 6:30 p.m. Sunday; “The Asphalt Jungle,” 7:30 p.m. Monday, with guests author and filmmaker Mark A. Fortin, actor Jack Huston, author, filmmaker and actor Joshua John Miller, and journalist Nancy Jo Sales; “Niagara,” 8 p.m. Wednesday; and “All About Eve,” 7:30 p.m. Thursday, with guest Vanity Fair contributing editor Lorraine Nicholson. Screening series runs through July 3; exhibition continues through Feb. 28. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Museums of the Arroyo Day The theme is “Life in the Past Lane” as five local institutions celebrate Arroyo Culture with a day of free admission. Noon-4 p.m. The Gamble House, 4 Westmoreland Place, Pasadena; Heritage Square, 3510 Pasadena Ave., L.A.; Los Angeles Police Museum, 6045 York Blvd., L.A.; Lummis Home, 200 E. Avenue 43, L.A.; Pasadena Museum of History, 470 W. Walnut St., Pasadena. museumsofthearroyo.com
Now Be Here’s first photograph in Los Angeles, 2016, Hauser & Wirth DTLA.
(Isabel Avila & Carrie Yury, courtesy of Kim Schoenstadt, Now Be Here)
Now Be Here: 2026 Los Angeles Anniversary A decade ago, the organization launched as a means to “give visibility to women and non-binary artists, bringing equity to the art world,” and was commemorated by the above group photo. To mark the moment, Now Be Here and OXY ARTS present a free day of events (including a new community photo) open to all on the Occidental College campus. 9 a.m.-3 p.m. Occidental College, 1600 Campus Road. oxyarts.oxy.edu/events
Tierra Craft Contemporary’s 4th Clay Biennial focuses on the work of Latinx, Indigenous and Black artists, emphasizing their deep connections to the geographies that yield the materials they work with. Also opening this week is “Earthen Comforts: Airing Earth,” a courtyard installation led by architect Liz Gálvez, the latest partnership in the ongoing experimental architectural project curated by M&A (Materials & Applications). Sunday-Oct. 25. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org
TUESDAY
The Sun Rises in Harlem: Black Brilliance and the Harlem Renaissance The performing arts collaborative MUSE/IQUE, led by artistic and music director Rachael Worby, pays tribute to this transformative era in American arts featuring the music of jazz greats such as Duke Ellington, Cab Calloway and Bessie Smith. With Kecia Lewis, Sy Smith, Leo Manzari, DC6 Singers Collective and the MUSE/IQUE Orchestra. 7:30 p.m. Tuesday-Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 and 7:30 p.m. June 7. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. muse-ique.com
WEDNESDAY
Colburn Celebrity Recital: Joshua Bell/Jeremy Denk Frequent collaborators, the acclaimed violinist and pianist perform works by Schubert, Grieg, Ives, Ysaÿe and Ravel in their first joint appearance at Disney Hall since 2010. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY
Bodytraffic The contemporary dance troupe closes out a 20-year run with its final three hometown shows, including works by choreographers Fernando Magadan, Cayetano Soto, Joan Rodriguez, Richard Siegal and Trey McIntyre. 7:30 p.m. Thursday and June 4; 2 p.m. June 6; the Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Arturo Sandoval The legendary trumpeter and bandleader, a protégé of jazz great Dizzy Gillespie, performs an eight-show residency at the Blue Note. 7 and 9:30 p.m., Thursday-June 7. Blue Note LA, 6372 W. Sunset Blvd. bluenotejazz.com
Spectacular Balanchine! American Contemporary Ballet continues its deep dive into the master choreographer’s work with dances from “Who Cares?,” “Stars and Stripes,” “Western Symphony” and “Union Jack” to music by George Gershwin, John Philip Sousa and Hershey Kay. 8 p.m. Thursday-Saturday, through June 20. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com
Arts anywhere
New and recent releases of arts-related media.
The book jacket for “Miles: The Autobiography.”
(Simon & Schuster)
Miles: The Autobiography May 26 would have been jazz legend Miles Davis’ 100th birthday and Simon & Schuster has released a centennial edition of his award-winning 1989 memoir, in which he reflects on his career, relationships and battles with racism and addiction. Also check out filmmaker Stanley Nelson’s 2020 documentary, “Miles Davis: The Birth of Cool,” featuring studio outtakes from Davis’ recording sessions, rare photos and interviews with Quincy Jones, Carlos Santana, Clive Davis, Wayne Shorter, Ron Carter, Davis’s family and other notables. Simon & Schuster: 448 pages, $23; “Miles Davis: Birth of the Cool,” streaming on PBS platform.
— Kevin Crust
Culture news and the SoCal scene
Daniel Harding, Los Angeles Philharmonic’s new music director, visited In-N-Out among other iconic L.A. locations upon his arrival Tuesday.
(Kayla Bartkowski / Los Angeles Times)
The big news of the week was the long-awaited, much-speculated-upon announcement of who will become the next music director of the Los Angeles Philharmonic when Gustavo Dudamel departs later this summer to take his new role at the New York Philharmonic. Surprise (or rather not too much of a surprise depending on who you are and how closely you were watching), the L.A. Phil’s 12th music director will be Daniel Harding, a 50-year-old, Oxford-born conductor and part-time Air France pilot who made his U.S. debut as a young prodigy conducting the L.A. Phil at the 1997 Ojai Festival, writes Times classical music critic Mark Swed.
Gustavo Dudamel, the current Los Angeles Philharmonic music director, left, hugs newly announced L.A. Phil music director Daniel Harding, right, at Dodger Stadium.
(Kayla Bartkowski / Los Angeles Times)
The Times scored an exclusive ride-along with Harding the day after the L.A. Phil’s big announcement. His day included stops at In-N-Out Burger, the Beckmen YOLA Center and the Hollywood Bowl. The evening was spent at a Dodgers game with Dudamel where the two sported matching jerseys emblazoned with their names.
Artist Diana Thater’s new video projection at LACMA’s David Geffen Galleries will debut in the fall.
(Carlin Stiehl / For The Times)
We also got a first look at a new video installation scheduled to light up the underside of LACMA’s new David Geffen Galleries where it forms a bridge over Wilshire Boulevard. Designed by artist Diana Thater, the installation was filmed in Claude Monet’s garden in Giverny, France, and will officially debut in the fall, after which it will run from dusk to dawn, 365 days per year.
Times contributor Jane Horowitz sat down with photographer Catherine Opie to chronicle a moment in time that finds Opie experiencing “one of the most visible stretches of her career, with work appearing simultaneously across Europe and Los Angeles. This includes a career-spanning survey at London’s National Portrait Gallery that will travel to Edinburgh’s Royal Scottish Academy, as well as exhibitions in Kassel, Germany, and Trondheim, Norway. Closer to home, a new exhibit, ‘Holding Blue,’ opens May 28 at Regen Projects.”
Alicia Keys’ musical “Hell’s Kitchen” staged its L.A. premiere at the Hollywood Pantages Theatre.
Penny Smith was one of the familiar faces of ITV’s GMTV alongside Lorraine Kelly and Eamonn Holmes, but left the show in 2010
13:54, 29 May 2026Updated 14:17, 29 May 2026
Daytime TV legend Penny Smith on BBC Morning Live(Image: BBC)
TV icon Penny Smith made a triumphant return to daytime telly.
The popular presenter was famous for her role on GMTV and joined as the main newsreader in April 1993 and remained on the show until June 2010.
The star – who worked alongside Eamonn Holmes, Lorraine Kelly and John Stapleton among others – was treated to clips of her best bits on her final day in the studio.
She was also reunited with Curtis Stigers, her former partner from BBC’s singing show Just The Two of Us, who serenaded her with his hit You’re All That Matters To Me.
Now, 67-year-old Penny has made a comeback on another daytime show when she landed a slot as a roving reporter on BBC’s Morning Live on Friday, May 29 – and fans were delighted to see her return.
Penny presented a special segment investigating the chaos faced by tourists caught up in the EU’s new fingerprint scanner during the show which was hosted by Gethin Jones and Michelle Ackerley, reports the Daily Mail.
Penny was out on the ground at Manchester chatting to people travelling through the airport while also meeting up with a young woman who missed her flight due to the chaos.
She then tried a number of different substances on her hands, from water to moisturiser and an alcohol wipe, to see how it impacted the results on the fingerprint scanner. All produced different results.
Penny’s return to daytime television was welcomed by viewers who took to social media to express their delight.
One said: ‘Can we please see more of Penny Smith on Morning Live?’ while another said: ‘Great to see Penny Smith back on TV’.
Penny began her career as a reporter and feature writer on the Peterborough Evening Telegraph in 1977.
Penny later helped launch Sky News in February 1989, and four years later she joined GMTV, where she stayed until 4 June 2010.
She has since hosted several radio shows, including the weekday breakfast show on BBC London, Talk Radio, and Magic Classical.
Elsewhere, she has appeared on Have I Got News for You, Just the Two of Us, and Never Mind the Buzzcocks.
Last year, she reunited with former GMTV co-star Eamonn during a short stint on GB News. At the time, Eamonn said: “I’m delighted to be working with Penny again after all these years.”
Morning Live is on BBC One weekdays at 9.30am and BBC iPlayer
All six episodes are available to binge in one go via Channel 4’s catch-up service after the series premiere this week
The brand new comedy series launched on Thursday night (May 28)(Image: Channel 4)
A brand new Channel 4 comedy series premiered last night and audiences are split.
Surreal six-part sitcom Make That Movie aired its first two episodes on Channel 4 on Thursday evening (May 28) with the entire series also made available to binge in one go on the broadcaster’s catch-up service.
The mockumentary follows a director named Sam (portrayed by Australian comedian Sam Campbell) who scours the UK in search of weird and wonderful ideas for feature films from the general public. He and his team then bring the ideas to life in just three days, though the quality of the finished product is always slightly questionable.
The official synopsis reads: “Hotshot director Sam and his elite team of filmmakers race against the clock to turn ordinary people’s extraordinary, chaotic and surreal ideas into hit movies.”
Alongside show creator Sam, who plays an exaggerated version of himself, the cast also includes Michell and Webb Are Not Helping’s Lara Ricote as runner Jess, and Am I Being Unreasonable’s Helen Bauer, cast as sound engineer Pat. Meanwhile, Aaron Chen (Fisk) takes on the part of intimacy coordinator Sebastian, and This Country’s David Hargreaves assumes the role of cinematographer Winnie.
In the wake of its release, reviews have ranged greatly with some declaring it the best thing on TV and others calling it the worst, something Sam had been wary of. He admitted in a chat with Metro: “It’s really hard making a show. It’s better to watch a show,” adding: “There’s a big, serious threat of it being t**d of the year.”
Professional critics appeared to enjoy the series, with The Guardian calling it “the funniest TV show of the entire year” in their five-star review. Meanwhile The Times offered it a more meagre three stars, branding it “just so weird.”
While it is still lacking a Rotten Tomatoes rating, viewers at home that dove straight into it have been vocal with their thoughts. One disgruntled viewer commented: “That make that movie programme with Sam Campbell is absolutely HORRIFICCCCCCCC.”
“A few episodes in on #MakeThatMovie (love Sam Campbell) and while it’s genius to cast Aaron Chen in roles such as intimacy coordinator and stunt coordinator, he just feels very underused,” another remarked.
A third urged “everyone watch Make That Movie by Sam Campbell,” while a fourth was unsure, commenting: “Hmm… Sam Campbell is great at spontaneous weird ideas but I’m not sure it works so well committed to a script… And Sam won’t be winning any Oscars for his acting.”
Make That Movie is available to stream via Channel 4’s catch-up service.
Kelvin Washington: Welcome back to The Envelope. I’m Kelvin Washington, alongside the usual suspects, Yvonne Villarreal, also Mark Olsen. It’s good to have you all here. Everybody doing well?
Mark Olsen: Yeah, I’m doing great.
Yvonne Villarreal: Good to see you.
Washington: Well, first of all, I didn’t get the green [wardrobe] memo. It’s OK. Leave me out.
Villarreal: I’m trying to blend in with the chair.
Olsen: That’s why you pop
Villarreal: You do pop.
Washington: Well, you took what I was going to say. You don’t blend in. You always stand out.
Villarreal: Thank you.
Washington: That’s true. All right, so we’re kicking off Emmy season in here. And there’s obviously a million different things to have seen. We’ll start it off with Yvonne — I’ll go to you. What have you seen? Give me a couple of things that stand out to you that you’re enjoying.
Villarreal: Look, I’m always gonna mention “The Pitt.” Season 2 really captivated me. Also, there’s “Pluribus.” Can never go wrong with Rhea Seehorn. Also, one that — surprisingly for me, just given the subject matter — I really enjoyed this season, is “The Testaments.” And I think it’s because of, you know, the young cast and feeling that sense of hope that these young teenage girls are gonna get us out of this. Those are my picks so far.
Washington: Did you say that we need that?
Villarreal: We do need that.
Washington: OK, I just wanted to make sure.
Villarreal: I won’t mention reality TV, because I know it makes Mark a little…
Washington: Let’s make him a little squirmy.
Olsen: Maybe one of these days, I’ll try!
Villarreal: “One of these days”?
Washington: Twenty-five years into it.
Villarreal: “Real Housewives of Rhode Island” is all I’m going to say. I’ll just leave it there.
Olsen: Rhode Island?
Villarreal: Rhode Island.
Washington: Mark, I’ll go to you next, but just to your point there, Yvonne, I haven’t seen much of it, but I did have some guests at the morning show that I anchor from “Love on the Spectrum.”
Villarreal: Oh yeah.
Washington: Folks love that show. I mean, when I tell you that we had a couple of the guests come in and they’re walking around, people were screaming, “Can I get their picture?” So you’re talking about reality TV, just that, that’s a big one there.
Villarreal: They’re stars. And hearing who’s broken up already. I won’t spoil it, because you should watch that one.
Olsen: Wait a minute, how do people on your morning show rate “The Morning Show”?
Washington: Oh, that’s a good question. Some of the [story] lines or the feel hits a little too real, too close to home at times, that’s for sure. But I think it’s run its course a little bit as far as the watercooler [chatter] around the job a little. You know, it’s had some seasons here. But there are some things that, you know, some us look at each other like, “Clearly someone in the business is on there writing that show because that was too close to home.”
Villarreal: Lots of conniving.
Washington: But that’s all sensationalized. We’re just an ordinary morning show. None of that going on.
Villarreal: There’s no Billy Crudups out there.
Washington: Watch how I turn over here to Mark and we switch subjects. What about you, Mark? What are you watching? What do you enjoy?
Olsen: You know, it’s funny, I find as we’re in sort of like post-peak TV, I definitely find that I’m liking my TV to just feel like TV. And so I definitely like the Bill Lawrence universe, [that] kind of comfort watch — the new show “Rooster” with Steve Carell and Danielle Deadwyler, who’s just like so charming, so good on that show. I have really grown to like that show. I really enjoy the week-to-week. Even as I’ve maybe fallen off with some of his other shows, it’s funny how he’s always giving you a new show, like, “Oh I like this one!” And again [with] the week-to-week, “Oh it’s my day to watch ‘Your Friends and Neighbors’! Let me see what my good friends Jon Hamm and Olivia Munn are all up to.”
Washington: Are your neighbors like that?
Olsen: I have not had any disputes over dogs with my neighbors, no.
Washington: By the way, have you been, you mentioned Steve Carell, like he’s in his ‘zaddy’ era. It’s amazing what a beard does for a lot of people. No one ever necessarily thought of him as a heartthrob and all of a sudden I’ve heard, I’ve seen some things on Threads or whatnot, and they’re like, “Oh girl, I didn’t know Steve Carell…”
Villarreal: Some of us have known all along, OK?
Washington: I digress.
You guys mentioned a couple for me. “The Pitt” is unexpected — I was going to say every episode, really every 10 minutes. So that’s always a wild ride. And in “Paradise,” the shift from the previous season for me, because, you know, it’s not that I’m spoiling it, but just the shift into the outside and prior to, that dynamic to me was interesting. Almost like two different shows between Season 1 and Season 2. That for me is interesting to see how folks do and Sterling K. Brown, where’s he in all of this? So those are the ones that I’m looking at there.
I swing to you, [Yvonne]. You had a chance to speak with Carrie Preston, of course, in “Elsbeth.” Kind of a “Columbo”-style of a show, if you will. Tell us a little bit more about that.
Villarreal: This is the thing. We should never discount what’s happening on broadcast TV.
Washington: Good point.
Villarreal: “Elsbeth” is one of those shows that is so compelling. It really expanded, Robert and Michelle King’s “Good Wife” universe. They’ve had the spin-off, “The Good Fight,” and “Elsbeth” is in that universe, but it feels totally different. It’s this comedy procedural that follows Elsbeth, who we were introduced to as this eccentric lawyer, and in “Elsbeth” she’s moved from Chicago to New York as this NYPD consultant and de facto detective. And she has these really unconventional, unorthodox, eccentric methods to solving cases. And it’s really fun to watch and it was really fun to have this conversation with her.
Washington: All right, well, let’s get into it. Here’s Yvonne and Carrie now.
Carrie Preston, star of CBS’ “Columbo”-esque hit “Elsbeth.”
(Christina House / Los Angeles Times)
Yvonne Villarreal: I’m always very eager to talk about this character that I’ve spent 15 years tracking. You made your debut as Elsbeth Tascioni in “The Good Wife,” and she leaves a memorable impression early on, with just three minutes [of screen time]. I did time it. What do you remember about the call about this character and what [creators Robert and Michelle King] told you about who she was?
Carrie Preston: They had offered me the role, and I was working on some other things and I had just dyed my hair red, but they didn’t know this yet. And so they all knew me as a blond and I thought, “Oh my gosh, I hope they’re going to be OK with this character being a redhead because in their minds I’m not that.”
But [Robert] called and he said, “We’re thinking about this character like a female Columbo.” I didn’t really watch a lot of “Columbo,” but I understood what he meant, which was, this is a person who is going to be coming at things in an unexpected and unorthodox way and people are going to underestimate her. I took that to heart. But nonetheless, I was going in as a guest. As a guest, you’re going into somebody else’s house, you wanna follow their rules, you don’t wanna jump in their pool and start swimming around without asking permission. So I was a little tentative with it, but I took myself to the set before we started shooting just to show them, “This is what I look like now, are we still good? Because I can’t change the hair right now ’cause I’m doing this other thing.” Luckily, they were like, “Oh I think that actually works really well for the character.” And little did I know, I was gonna then be the redheaded actor for a good 16 years now, or whatever it is. I look back at that time, I was just finding my way with this character and figuring out, “How can I make her something different but not too different that I don’t fit in with the world of the show and the landscape of that universe?” And so looking back, you can see how I was tiptoeing around and it took a little moment before they really let me just let what my instincts were telling me to do, fly.
Villarreal: Because you knew she would be coming back in some capacity.
Preston: I didn’t know. I did two episodes at the end of their first season. Did not get a call at all in Season 2. And I thought, “OK, well, I guess I was a little too weird or I wasn’t really what they were thinking.” You kind of start talking to yourself and then you go, “I can’t read their minds. I’m just gonna keep doing what I’m doing.” And that was a really fun time. Then they called in Season 3 and that was when they said, “OK, we’re gonna do a little arc; we want this to flesh this character out.”
Villarreal: She went on to appear in many episodes of “The Good Wife” and also [its spin-off] “The Good Fight.” Then they have the idea during the pandemic of, “We want to do a show centered around Elsbeth.” And I imagine that’s a thrilling call to get, just like that first call that you received. As an actor in this sort of fickle industry, where you’ve put in the time, when you get a call like that from these prolific TV producers that are really respected, and they say, “We see you as being able to lead a network series.” How do you wrap your brain around that?
Preston: It was kind of a slow buildup to that because even when I was doing “The Good Wife, “ at the end of that series they were talking about, “How can we spin off the show?” And some people like yourself and people who are in the industry, fans, et cetera, were saying, “Why don’t you spin it off with Elsbeth Tascioni?” And Robert King reached out and said, “Would you be interested in this?” And so I said, “Of course, I would do anything to be be doing that.” Then I heard they’re doing this spin-off and it’s starring Christine Baranski and Rose Leslie and Cush Jumbo — pretty much everybody but me. And I was like, “OK, well, I guess that’s what they’re gonna do.” But I did reach out again and said, “I’d love to be a part of this.” And they said, “Yes, we’re definitely gonna bring you on and have you continue as a guest.” I went and did other things. I did “Claws.” I had already been working on “True Blood.” So I was doing all these other shows and thinking, “OK, I guess this is their spin-off. I’ll just be a guest again, and that’ll be that.”
And again, people would keep calling and saying, “Hey, what if you did a spin-off of the spin-off?” And still I dared not dream. It really wasn’t until 2020 that it felt like it was more plausible, possible. They were coming to the end of “The Good Fight.” They had this idea. And it seemed like a good one, and it seemed like a good business model, frankly, to have Elsbeth Tascioni, maybe one or two other series regulars, and then bring in all these amazing guests. It still took another three years before we actually did a pilot that, then, got picked up. So it was just these many, many steps before we actually got to this. So each time, I tried not to hold on to that dream too much, but at the same time, treasure every moment, even treasuring just the thought that they pitched me as the center of a show to a network that hired them to write a script. Even that, I was like, “Wow, this is incredible.” When we finished the pilot, I looked at the crew and I said, “We need to really honor this moment because this might be it. This might be the last time [I’m] ever playing this character. And we came together, and we made something really special. Whether or not it’s going to go to series, we all know we did something really wonderful.” And I burst into tears. I was so grateful for that opportunity. So every moment is a moment of gratitude and humility, to be honest.
Villarreal: Was there any part of you that thought, “I don’t know if I can do this”? Or because you were reaching for it for that length of time, when it finally happened, you’re like, “I can do this.”
Preston: There is this sense of wanting to make sure that I am doing everything I can to make this situation collaborative, to lead in a way that is not overbearing, to be a part of an ensemble, not just with the cast but with the crew. All of these things that I’ve been meditating on for decades. And I direct as well, so I know what it’s like to lead, and I’ve learned from watching really great leads, and not-so-great ones that get caught up in certain things, that rob them of an opportunity of creating something in a collective way. So I was excited to take all of these things that I’ve learned along the way and funnel them and channel them into this opportunity. Every day is a blessing, every day is challenge, and every day I feel like I do something that I know I can do better the next day. I try to meditate on that, because I want this opportunity that I’m having to be as special for the 300 people that are around me who are doing this with me. That’s really my goal.
Villarreal: In the series, obviously, we’ve come to know Elsbeth as this Chicago lawyer; here she’s a New York City police consultant. I really want to know what Elsbeth would be like in Los Angeles. What do you think that looks like?
Preston: Elsbeth finds beauty wherever she goes. I think it would be tough for her because she so likes to be right in the middle of all of humanity and [in] L.A., you’re isolated a lot in your cars — having to kind of keep yourself sequestered from other people just because that’s how people get around. I bet she’d be on the subway, she’d be on transit, she’d be on buses, she‘d be out in the malls, she would be out on the beaches, meeting people, talking to people, learning about Venice Beach as compared to Sherman Oaks. She would be all about finding all the different vibes and how she fits in.
Villarreal: You’re known for being a scene-stealer supporting player. This role in particular sort of encapsulates that. Is playing a lead rather than a supporting player a particular kind of challenge? Do you have to learn how to have your character take up space differently?
Preston: I approach it the same way that I approach anything I do as a co-star, a supporting actor, a guest star, whatever. I’m there to serve the script and to work with the people who are around me to elevate a scene and make it work. And to make the the job of everyone around me easy. I really feel like when you come at it with that collaborative spirit, you don’t think about, “Oh, I’m the lead.” You don’t think about where you fall into that hierarchy. You’re just there to make the scene work. And I like that. Because then I don’t feel pressure to be something more than what that is. You’re building a house every day, and you’ve got to start with foundation and then move all the way up. You can’t just come in and the house is already built. That takes more than one person. And I like that, and I feel like Elsbeth is like that too. She’s very much about the other person. For me, if you’re ever stuck in an acting scene and you don’t know what you’re doing, you need to just focus on the other person, and then all of that other stuff starts taking care of itself. What does this person need? What am I giving this person? What am trying to get from this person? Just all the like the basic building blocks of acting and then you can get out of your own head and let the choices happen.
Villarreal: Something that’s so striking about the character is her physicality. She sort of darts into frame, or she’s crouching, even the movement of her hands as she’s reenacting what might have happened. What was that like, finding the movement of Elsbeth?
Preston: It started from the beginning. The scripts, at the beginning, would write in these pauses. They would just say “pause” in the middle of a sentence. And I was like, “Huh, what is that?” That became the most fascinating thing to me. “What’s happening there? What’s happening with this woman when she’s not speaking?” And, so, that’s where the physical stuff started coming. And in “The Good Wife” and “The Good Fight,” there was a little bit of an evolution of that. The tote bags were brought in very early on by Brooke Kennedy, who was the producing director and one of the main directors on “The Good Wife.” She said, “I want her to always have something going on.” And I was like, “Great, I love that.” That’s a gift for an actor. I’m someone who, if you give me a prop, I’m gonna do something with it. I just like that. It’s fun. I’ve trained for the theater. So I love that idea. There’s a term that sometimes we use — I don’t know if it’s OK to say it — but sometimes we call each other “props-titutes.” If you get a prop, you can’t help it; you’re gonna have to do a thing with a thing. And so the bags and all that stuff — I started thinking, “Oh, I guess [with] this woman, her mouth is saying one thing, her mind is thinking another and her body’s doing a third thing.” As soon as I came up with that little weird math equation, things started locking into place.
Robert King directed the pilot. He created the show with Michelle King. Robert loves any kind of physical comedy. Marx Brothers, Three Stooges, Lucille Ball, all of that stuff. He just loves it. He worships that stuff. We were doing a scene and he said, “I don’t want you to just walk up. Let’s have you like lean in like Charlie Chaplin or something.” And I was like, “Great!” So he had me lean into frame and wouldn’t you know, that just became then the signature thing for this new iteration of this character. And it became kind of a metaphor for the whole show. This woman is not ever gonna approach things straight. She’s always gonna approach things at an angle. That’s another fun, creative thing that you can run with. Then the writers and the directors and the other actors, we all just started playing with that. And I have to do these scenes where I sum up the entire crime. Sometimes it’s like a five-page monologue. Well, you don’t have that much time to memorize that stuff because you get the script and I’m learning 50 pages of dialogue every eight or 10 days. So the physicality helps me remember it. And I imagine it helps Elsbeth piece it together.
Villarreal: Are you like at home just [mimics exaggerated movements]?
Preston: Yes, I’m coming up with things.
Villarreal: Is Michael [Emerson, the actor], your husband, like, “What’s going on here?”
Preston: He lets me do my thing. What I’ll say to him is, “I’m gonna go close the door and talk to myself for a while.” And he’ll go, “OK.” I learn my lines by myself. I record my own cue lines. It all has to happen alone. Because I know I have to go back over and over and over again. And when somebody is running lines with me, I’m very concerned about how bored they must be. So I just have to do all that on my own. The funny thing is I learn my lines a lot when I’m on the train. I go back and forth between New York City and the Hudson Valley a lot. It’s like an hour and 20 minutes. So the people on those trains are seeing this crazy lady, because I’ve got my ear things in and I’m looking at my [script].
Villarreal: Do you have your own bags?
Preston: I’ve go my own bags, and I am sure if they don’t recognize me as Elsbeth, they just think I’m another insane person who lives in New York City and no one cares. The kooky redheaded lady on the train.
Villarreal: Let’s talk about that other element that’s so crucial to Elsbeth, which is the hair and the wardrobe. You talked earlier about how you dyed your hair for another role, and you didn’t know you’d be locked in for this long with it, but it’s such a feature of her. Obviously we’ve seen her wear wigs in the show.
Preston: Which was fun, to go back to my original blond look.
Villarreal: And you mentioned Lucy earlier, Elsbeth in the tutu this season was so, so good —
Preston: One of the best compliments that Jon Tolins, our showrunner, ever gave me was when he saw the dailies from that day of the tutu and dancing with the little 6-year-olds. Oh, my God, I was in heaven. He just wrote, “Lucy level.” And I was like [playfully belts a note], “This is a dream.” Because I decided this woman would really want to be trying to do her absolute best. She would really be wanting to try to dance the best way that she knew how, but her body doesn’t know how to do that. But her mind wants to. Plus, I like to entertain the crew. They often don’t laugh because the crew has seen everything and they’ve seen me do a million things. But if I can get them to laugh, that’s a win.
Villarreal: Her style is so intriguing — sometimes I’m like, this is what “And Just Like That” should have had, some of these wardrobe pieces.
Preston: Well, that’s Dan Lawson, our costume designer.
Villarreal: What does that do for you? And please tell me there is a bag closet. I’m obsessed with the bags.
Preston: Oh yes. If you were to walk into the costume shop and see my section, it’s like a circus had a party under a rainbow. There’s four or five racks of clothes, and they go on what seems like a mile. And then there’s [a] whole wall of the totes. And Dan finds special totes that he’ll shop for, but then he also has some of the totes made because he wants them — we decided early on it would be totes, of course, but like after the opera episode, she would then have an opera tote. We had to make very specific totes that would do callbacks to previous cases and things like that. Dan thinks about everything.
Villarreal: Do they put things in the totes?
Preston: They do, but early on there were a lot of things in the totes, and I was starting to have to go to physical therapy because people don’t understand when you’re working on a scene, it takes six hours to shoot a scene, and if I’m coming running in with totes on my shoulders a hundred times it’s gonna take a toll on my body.
Villarreal: But you also need things in them so they don’t fall down easily.
Preston: Carol [McLennan], who’s my on-set costumer, she’s constantly putting top sticks so that they’ll stay. She’s finding creative ways to safety-pin them on. The continuity of the bags, you have to make sure that they’re exactly the way they were for every take. It’s like I have a child — three children, my totes.
Villarreal: Such a feature of the show is obviously the sort of revolving door of guest stars. This season you’ve had Stephen Colbert, Griffin Dunne, Beanie Feldstein and Patti LuPone, who was in the finale. Are you ever just lost in the fact that you’re acting opposite these people? Is there a moment that stands out from that?
Preston: Dianne Wiest. I’m a huge, lifelong fan of Dianne Wiest, like top five. And when I found out she was gonna be in the episode where she plays a nun, a murderous nun, I just thought, “I’m not gonna be able to contain myself.” I usually reach out to everybody before to send them an email or a text or something and just tell them how thrilled I am that they’ve said yes. So I wrote her a thank-you for saying yes/stalker-level fan email. And she wrote back. And she’s like, “Oh, Carrie, I’m so happy to hear that.” It was just like, “Oh, my God, I could just hear her voice.” When she showed up — I mean, she’s Dianne Wiest. And she is wearing a nun’s habit, and I couldn’t stop staring at her face. She would catch me staring at her and then she would just smile, with that sweet gorgeous face of hers and I would say, “I’m sorry, I’m sorry. I know that it’s probably making you uncomfortable. I just am absolutely honored. I do not even understand how I got to be so lucky to have someone like you doing this.” And you could say that for every single person on the show. I fangirl on them in the way that the character fangirls on Diane Lockhart. You know what I mean? The same little spirit lives inside me that is Elsbeth. I have wonder and appreciation. And it’s become more infectious. She has become more infectious the more I play her.
Villarreal: There was the moment where, in the Griffin Dunne episode, where he’s threatening towards her. I’m trying to remember if there’s been a moment like that where I felt threatened for your character. What was that like filming with him?
Preston: It was wonderful. Robin Givens, who was our director, [and] who, as we know, is an actor as well, she was really directing us to reach a pretty scary place. I like it when our show gets scary like that because we have to remember that she’s hanging out one-on-one with murderers. She’s going into their space. And as unthreatening as she is, that in and of itself is threatening. And we need to remind the audience of that from time to time. She pushes buttons because she’s trying to get them to admit something, or she’s pinning the fly to the bulletin board and watching it squirm. And this one, I realized as I was playing it, I was like, “I’ve got to play up the flirtatious side because that’s what he gets really guarded about, the fact that he’s a womanizer. So if I play that up, it’s gonna infuriate him.” And so he backs me up, and then we realize there’s no way out. It’s great, but it’s scary. But she knows that he’s not gonna do anything to her because he still thinks he’s gonna get away with murder. But we added this one [look], and I wanted to make sure [it was kept]. I said, “Please, Robin, please don’t let them cut this.” I look back at him at the very end going, “Gotcha. I got you just where I wanted you. You fell into my trap.” And they kept that in the cut. I was very happy about that because we build these things together, and sometimes they just have to cut them for time. But they didn’t.
Villarreal: Because you’re also thinking with your director’s hat. And I know it must be hard to even think about whether you can direct an episode of “Elsbeth.” But is that something on your bucket list? Or would it just be too difficult to manage?
Preston: I love this job so much. This is the dream job, and I want to make sure that I am doing everything I can to do that in the best way that I can, every day. And I do feel like having directed myself before in the past, in things where I was just a part of the ensemble, the way I choose to direct, I found that I was shortchanging the acting a little bit. I don’t want to do that on this show. I do think it would cost the crew to have me do both things, and I care about them so much. I don’t have to prove that I can do both. The one thing I could do is direct the first episode of the season because I would be able to prep. Otherwise I wouldn’t be able to prepare. I feel like I trust our directors. I love our writers. I love our crew and I love how things are going.
Villarreal: We know Elsbeth as this person with a keen ability to read people, who can sniff out liars, murderers. What was so interesting this season was to see her vulnerable side in her personal life. And see that she has her blind spots too. Were you excited when you saw that they were going to explore this side of her? And what was that like to play?
Preston: I think it’s always a good thing to deepen the character as you go along because, you know, we’re a police procedural; we have to figure out how to put a crime each episode, just structurally. But we want texture to the character, and having that vulnerable side really gave us that. As an actor, if you can find the drama in the comedy, it makes the comedy stronger, and vice versa. It was a wonderful way to stretch myself as an actor. It’s important to always show the heart of a character that you’re playing. The more specific you are, the more universal it is. And I think people can relate to her in that way. Everybody has felt heartbreak or confusion or duped or confused or distrustful of their own intuition and all of that stuff. And so the complexity of that was, of course, great to play.
Villarreal: Are you, Carrie, as perceptive as Elsbeth?
Preston: I do have a little bit of an empath in me. I do feel like I can read a room really quickly and I can kind of tell what people are thinking or what people are feeling. A vibe. I don’t know what it is, but it’s an empathic kind of nature. I have way more boundaries than I think Elsbeth does, but I’m not nearly as brilliant as that woman. I don’t know how many people in the world are. That’s what makes her so special. But I key into that side of her and I can relate to it.
Villarreal: Final question for you. The show will return for a fourth season. What do you want to see from Elsbeth? Who’s your dream guest star? It must shift because you guys are getting everybody.
Preston: We’re getting wonderful people who are interested in the show and I’m so proud of that and I know Jon is too. Jon Tolins is our showrunner. We’ve really, both of us, made it our personal missions to create an environment — and he creates scripts — that people want to come and participate in, and a welcoming place where somebody gets to play a delicious character for eight or nine days and then go on with their busy careers. I never would have dreamed that, for example, Steve Buscemi would have wanted to be on a show like “Elsbeth,” but he did and he asked to be on it. That blew our minds and it still is blowing our minds. So I could not even dream of most of the people that have come on. That said, you know, I’ve said this before, I’m a huge Meryl Streep fan. I would love for her to come on. We think often about, maybe we should see a parent of Elsbeth, a mother maybe. So we play around with different ideas for that, and that would be nice to see because we’ve seen Elsbeth as a mother, but we haven’t seen her as a daughter. We’ve seen her as a friend but we haven’t seen deep into her her origin story. So I think that could be a fun thing to tap in Season 4. But I trust Jon and the writers.
Villarreal: I want Diane Lockhart to stop by.
Preston: I know, wouldn’t that be great? Or Alicia. But I don’t know. We got Sarah Steele who played Marissa [in “The Good Wife” and “The Good Fight.”] That was amazing. But like Michelle King was saying in an interview [for an L.A. Times’ Screen Gab event] yesterday, this show has kind of found its own place separate from that universe. It’s nice if we have people from that universe pop in, but it’s not required. And a lot of our fans never even watched those shows. So that speaks to what Jon and the writers are doing and what we’re, as a collective, bringing to the audience.
Villarreal: Thank you so much for being here. I, for one, can’t wait to see what the bag selection is like in Season 4.
Bradley Walsh is put in his place in the upcoming episode of Bradley & Barney Walsh: Breaking Dad
Bradley Walsh is hilariously told ‘do you know what you’re doing’ by an ITV show guest this Friday(Image: ITV)
Bradley Walsh is hilariously told ‘do you know what you’re doing’ by an ITV show guest this Friday.
Bradley, 65, and Barney, 28, are back on the road once in their hit series Breaking Dad as they head down under for a spectacular Australian adventure in the seventh season of their beloved ITV programme.
In this week’s episode, the boys’ Australian adventure continues and they are in the outback, where they meet a group of local farmers and help them muster their cattle.
The pair then make a pit stop at a local bar, where they end up taking part in a pub quiz. The next day it’s competition time as father and son go head to head in a race on lawnmowers.
Bradley and Barney’s trip then takes them back towards the coast and the beautiful Whitsundays, where a trip on a superyacht awaits them. However, in true show style, the boys won’t be doing any relaxing as they’re expected to work onboard.
In an exclusive first look clip of this Friday’s episode, it shows the moment the boys are thrown into a Below Deck style cocktail making challenge, where they have to make beverages for the superyacht’s passengers.
Bradley is tasked with making a margarita while Barney is asked to make a piña colada. However, Bradley’s cocktail making attempts don’t exactly go to plan as he pours Cointreau directly into the glass as opposed to the cocktail shaker. Noticing his blunder, he quips: “I should have done it in this but don’t worry!”
However, the superyacht’s guests are left apprehensive as one of the passengers squeals: “Does he know what he’s doing?” before another guest offers instructions, saying: “Do you need to put the Cointreau in there to shake it?”
To which Bradley insists: “I don’t really because it’s best if you have the Cointreau sitting at the bottom of the glass. That’s the way the pros do it!”
After mixing his drink, Bradley does a taste test as he exclaims: “Wow! I tell you what, you can run this boat on that!”
Meanwhile, Barney serves up the perfect piña colada to which a superyacht guest praises: “Oh my goodness Barney, you are amazing!”
Wanting feedback, Bradley asks: “Out of ten, would you say the piña colada?” to which the guest exclaims: “I give it 12 out of 10!”
A deflated Bradley then asks: “And the margarita?” with the other passengers admitting: “Three!” to which Barney jokes: “Unlucky!”
However, despite losing the cocktail making competition, Bradley soon gets stuck in as he grabs a piña colada to try himself and says: “Cheers to you all!”
The passengers who had the margaritas then put the drink back down on the bar with Barney joking: “Yeah, you best stay clear of that if I was you!”
Breaking Dad airs on Fridays at 7:30PM on ITV1, ITVX, STV and STV Player
PALM SPRINGS — Barry Manilow steers a golf cart to the end of a long driveway, pulls to a stop and flings a plush toy goose across a manicured lawn to the delight of his two Labrador retrievers.
“OK, where we doing this?” the 82-year-old singer asks about our interview. Dressed in a khaki shirt and slim-fitting rust-colored trousers, he’s got the look of a man prepared to undertake some très chic brush clearance; in reality, he’s motored down here merely to answer questions about his fabulous life and career.
Manilow and his husband and longtime manager, Garry Kief, moved to this sprawling desert estate from Los Angeles in the late 1990s. “We kept coming out, and it’s so beautiful that eventually we said, ‘Screw it — let’s just stay,’” he says. By then, Manilow had long since established himself as one of music’s premier showmen, with a Grammy Award, 11 Top 10 hits and a storied 15-night run at L.A.’s Greek Theatre under his belt.
So you might’ve taken Palm Springs as a sign that he was ready to slow down. Instead, he launched a residency at the Las Vegas Hilton in 2005 that eventually surpassed the length of Elvis Presley’s show there; in 2006, he released “The Greatest Songs of the Fifties,” which went platinum and spawned a series of successful follow-up albums.
Last month, Sabrina Carpenter interpolated a bit of Manilow’s iconic “Copacabana (At the Copa)” into her headlining set at Coachella just days before he was honored by the American Advertising Federation for his work writing commercial jingles. The range of those achievements said something about his blend of music-nerd craft and pop-star razzle-dazzle.
“Barry loves music as much as anyone I’ve ever known,” says Bette Midler, who hired Manilow as her pianist for the name-making gig she played at New York’s Continental Baths in the early 1970s. Performing, Midler adds, “isn’t a job with him — it’s a vocation, a calling.”
Yet now that calling faces a threat. In December, Manilow announced that he’d been diagnosed with lung cancer and that surgery would require him to postpone a number of concert dates; five months later, he has yet to return to the stage — the longest break, COVID-19 aside, he can remember taking in decades.
Fortunately for Manilow, he has a new album, “What a Time,” with which to occupy himself. Due June 5, it consists mostly of original material — his first such LP in nearly 15 years — though it opens with a sumptuous rendition of Peter Allen and Dean Pitchford’s “Once Before I Go.” Manilow notes proudly that the song, which was produced by Kenneth “Babyface” Edmonds, recently made Billboard’s adult contemporary chart, extending his run on that tally beyond the half-century mark.
Barry Manilow performs in Beverly Hills in 2025.
(Gina Ferazzi / Los Angeles Times)
Still, performing is clearly on his mind as he leads me into a tile-roofed gym equipped with weights, a treadmill and a massage table. Manilow has been working out here every morning, he says, to regain the strength needed for his show; he’s got Vegas dates on the books for July but admits he’s unsure whether they’ll happen or not. We settle into two leather club chairs, his dogs Jake and Abby at his feet.
“Please be brilliant,” he tells me. “Don’t be boring.”
What are you doing on a day you’re not working? Working.
I see. Since the surgery, I can’t go on the road. Ninety minutes of screaming in tune, which is what I do for a living — I’m not up for that yet. I will be, but it’s taking a long time to get my voice back. They warned me that I’d have to learn to breathe again. So these days, I get up, I go to my piano and I try to be creative. Before I know it, the afternoon’s over.
Was the diagnosis a shock? Imagine your doctor saying, “You’ve got lung cancer.”
Fair enough. I’ll tell you the story. I have terrible hips — bursitis and everything — and they hurt so bad that I thought maybe I broke a bone or something. So I asked my wonderful family doctor, I said, “Can you just do one of those MRIs and see?” Now, before that, I’d had two bad bouts of bronchitis, one after the next. Have you ever had bronchitis?
I have. It stinks. So I asked him if he could check my hip, and he told the guys that were doing it, “Why don’t you check his lungs?” And I think he might have saved my life because they found a big black thing in my chest. One doctor said it was probably remnants of the bronchitis, the other doctor said it could be cancer. I voted for the bronchitis. But they went back in to see and it was a cancerous tumor.
How’d you react? When they told me, I was on the road, and I just went back to sound check. What else could I do? I never thought cancer would get me — it wasn’t in the cards. They wanted to get rid of it as soon as possible, so we made a deal: I’d finish the couple of weeks of shows that I had, then I’d go to the hospital and they’d remove it. It was supposed to be a no-brainer — it hadn’t spread yet, thank goodness. But then my AFib kicked in and acid reflux kicked in and pneumonia kicked in. They rushed me to the ICU for seven days.
Barry Manilow with Dionne Warwick in Los Angeles in 1985.
(Paul Harris / Getty Images)
Sorry to be morbid, but were you close to death? They said at one point — I didn’t hear them say this but I heard that they did say it — “We don’t want to lose him.” It’s all a total blur now. When they finally brought me back to my lovely room at the Eisenhower [medical center], I weighed 128 pounds.
How long you figure it had been since you weighed 128 pounds? I don’t remember ever being 128.
You said you never thought cancer would get you. Why? I’m too busy. Pretty stupid. What I realized is that I’ve always been the leader — leader of the band, leader of an audience — but I wasn’t the leader of this one. That was a big lesson for me. I had to rely on everybody else. Nurses, doctors, friends — you should see some of the notes people have sent.
What’s it been like to be offstage for so long? Agony. Make an album, go on the road, come back, make an album, go on the road — that’s what my life’s been for years. And I like it. Now I just have to get better and do what the doctors are telling me. It’s the only way out.
Well, there’s one other way. I’m not ready to croak. But I wasn’t ready to stop performing either, and it just went like that [snaps fingers]. The day before surgery, people are screaming, standing ovation, band sounds great. Next day I’m packing to go to the hospital.
Are you working with a vocal coach? Yep. But I get winded just walking down the hallway. I turn on my old records and sing along, and three songs in I’m like [pants].
Could you do a show where you skip the uptempos? No “It’s a Miracle” or “Copacabana”? I’m trying ballads too — my ballads end big.
Are you allowed to smoke or drink? I stopped smoking many, many years ago. I vape but hardly — I just like holding it. I was a great smoker. Brooklyn in the ’50s? Please. I started smoking when I was 9. I got up to three packs of Pall Mall non-filters a day, and it never bothered me — never had any problem breathing. I was just a skinny piano player who smoked. That’s who I am. That’s who I was.
Before he was a skinny piano player, he was a skinny accordion player.
Manilow grew up poor in Brooklyn, the only son of a Jewish mother and an Irish father who split up right after he was born. As a kid he entertained his mom and his maternal grandparents by squeezing out the Jewish folk song “Hava Nagila”; later, his stepfather brought home records by Gerry Mulligan and Judy Garland that opened his mind to jazz and pop.
He says today that he never saw himself as a performer — he wanted to write, arrange, produce. His first success came with jingles for brands like State Farm — “Like a Good Neighbor” is his handiwork — and Band-Aid.
“My ideas were good for pop music because of the commercials,” he says. “The rules are pretty much the same — you need to grab the listener as soon as possible. For a commercial, you’ve got about five seconds. For a pop song, you’ve got 10.”
In 1971, Manilow got the job with Midler and ended up working on her million-selling debut, “The Divine Miss M,” which led to a deal of Manilow’s own with Clive Davis’ Arista Records. Despite Manilow’s insistence that he was a behind-the-scenes guy, he scored a No. 1 hit out of the box with the plaintive “Mandy,” then quickly followed that with another chart-topper, “I Write the Songs” — a pop-philosophical epic, as nobody’s tired of pointing out ever since, that Manilow didn’t actually write.
Barry Manilow at home in Palm Springs.
(Christina House / Los Angeles Times)
Bruce Johnston, who wrote “I Write the Songs” — and won a Grammy for song of the year thanks to Manilow’s recording — says the key to Manilow’s performance is that “he’s never too cool for school.” A Beach Boy for six decades until he retired from the band this year, Johnston adds that Manilow’s rendition of the song, which was also cut by Captain & Tennille and David Cassidy, “is the only one I care about, honestly. He really grabbed it — he’s just as real as he could be.”
After several more Manilow hits — “Tryin’ to Get the Feeling Again,” “Weekend in New England,” “Looks Like We Made It” — Davis asked the singer to produce a would-be comeback album by his latest Arista signing, Dionne Warwick. Warwick’s initial reaction to that idea: “Really?” she says with a laugh. “Did Barry Manilow really know anything about Dionne Warwick? As it turned out, he knew quite a bit,” adds Warwick, who recalls turning up for their first session to discover that Manilow had laid every one of her albums on his piano. “He was letting me know: I know you,” she says.
“Dionne,” the album they made together, went on to win a pair of Grammys and spun off silky hit singles including “Deja Vu” and “I’ll Never Love This Way Again” that reinvigorated Warwick’s career and helped solidify Manilow’s standing as a kind of soft-rock auteur.
Which isn’t to say that rock’s intelligentsia ever viewed him kindly. Though his best music finds an emotional truth in over-the-top theatrics, critics routinely dismissed Manilow as a lightweight or a schlockmeister; even now, he seems an unlikely candidate for the Rock & Roll Hall of Fame, where he’s been eligible for induction for decades.
Manilow, who entered the Songwriters Hall of Fame in 2002, insists the slights don’t bother him. “I’ve never been one of the guys,” he says. We’ve been talking for a while, and because of the bursitis, perhaps, he’s hoisted one of his legs over the arm of his chair. “I don’t think about awards and parties and stuff like that. I’m very lucky — I live in the most gorgeous place I’ve ever seen and I have the most wonderful partner that you can imagine. I’m grateful he’s chosen to share his life with me. We’ve been together for over 46 years, and we still laugh and we still love each other. That’s the greatest award I’ll ever get.”
Manilow and Kief married in 2014; the singer came out as gay three years later. (Manilow was briefly married to his high school girlfriend, Susan Deixler, in the mid-1960s.) Has he found that the world looks at him differently since he came out?
“It was a non-event. Nobody gave a s—,” he says. “They all knew. I never really hid it, but in the ’70s and ’80s, that would have killed the career, and I didn’t want to do that. So I just never talked about it.” He smiles.
“Garry and I are just two guys that live in a house on a hill with two dogs that we love.”
Like many of Manilow’s hits, “Once Before I Go” was Davis’ idea.
Allen, the late Australian entertainer portrayed by Hugh Jackman in Broadway’s Tony-winning “The Boy From Oz,” had played the tune for Manilow in the early ’80s. “And I loved it,” Manilow says now. “But I was too young to sing a song like that — that song needs age to be able to pull it off honestly.”
Davis first suggested that Manilow perform it in his set at the post-pandemic We Love NYC concert that Davis put on in Central Park in 2021. After the show, which was called off due to weather as Manilow sang “Can’t Smile Without You,” Davis repeatedly advised the singer to record it.
Clive Davis, left, with Barry Manilow at an Arista Records party in Los Angeles in 1989.
(Lester Cohen / Getty Images)
“I don’t know, he had a bug up his ass,” Manilow says. “He loved it, and he loved it for me. And I’m not even on his record label anymore — he’s just a friend at this point. But he was right once again.”
Given the cancer diagnosis, did Manilow worry that fans might interpret the song — a teary goodbye from a well-wishing lover — as a more permanent farewell?
“Not one time has anybody said, ‘Is he talking about dying?’”
You wouldn’t necessarily call “What a Time” a concept album, though many of the songs ponder the ways memory and history can shape a romance. Manilow knows he’s regarded as a singles act but says that putting together LPs is what he’s always enjoyed best. His favorite is 1984’s jazzy “2:00 AM Paradise Cafe,” on which he collaborated with Mulligan, Sarah Vaughan and Mel Tormé.
“That was one where the critics who’d been killing me, they didn’t know I was capable of doing something like that,” he says. “But frankly, I’d been surprised that I was capable of doing the pop stuff.”
You made records of hits from the ’50s, ’60s, ’70s and ’80s. Why’d you stop before “The Greatest Songs of the Nineties”? Were there songs in the ’90s?
Barry. Didn’t it start to go downhill?
I can think of a handful of classics by Whitney Houston alone. You can’t touch those. I’m a good arranger, but you can’t top those records. Maybe four of those albums was enough. I was ready to go back to writing.
You’ve said the problem with modern pop is that there’s no melody anymore. That’s what I miss. Clive’s been pushing me to do “The Great New American Songbook.”
Like he did with Johnny Mathis a few years ago. So I’ve been studying the Top 20. The one I like is Lady Gaga and Bruno Mars.
“Die With a Smile.” Love that. But the way they’re writing songs these days is not the way I know how to write songs. They don’t do a verse, a chorus, a bridge, a chorus, a big ending. To me, when I listen, the songs feel like run-on sentences.
Barry Manilow with his dog Abby.
(Christina House / Los Angeles Times)
I was trying to think of artists older than you who are still performing. Name me one.
You’re invoking the widely held assumption that he lip syncs. I loved Frankie Valli and the Four Seasons. Who didn’t?
Would you ever lip sync? I’m terrible at it. I try now and again.
Do you find it morally objectionable? Depends on the artist. I like being in the moment, not knowing what’s gonna happen in the next bar or at the ending. It’s exciting to me to see if I can make those high notes.
Would not being able to make them mean it’s time to hang it up? Well, what’s happening right now, I’m on the verge. But I’m getting stronger, so maybe I don’t have to hang it up yet. I look fantastic, but I’m a hundred years old, right? I don’t know how that happened, by the way — I don’t get Botox or anything.
You’ve had no work done? No! I must say: There was one time when we lived in L.A. that I did do a facelift. But after that it’s just been a little here, a little there.
Wait, I asked you — “Work” is like a facelift, and I only had one of those. The rest of it — I see something falling down, sure, I’ll do that. I’m as vain as anybody else. One of my old friends, his mother said, “I always knew he was talented, but when did he get so handsome?”
Lizzo dazzled in the bikini snapsCredit: InstagramThe star has given herself a total body transformation over a two-year periodCredit: Instagram
Prior to the weight loss, she helped kick-start her health journey by going two months with no alcohol.
In June last year, she said: “I’ve tried everything. It’s just the science for me – calories in, calories out. Ozempic works because you eat less food.
“That’s it. It makes you feel full, so if you can just do that on your own and get mind over matter, it’s the same s**t.”
Lizzo explained how she ditched her vegetarian diet, realising it was causing her to eat in excess of 3,000 calories, after visiting Japan.
Lizzo began her weight loss journey at the end of 2023 when she was “severely depressed”.
She previously admitted she would order hundreds of dollars of food delivery and eat everything until her stomach ‘felt like it would explode’.
In 2025, Lizzo noted that she had ‘quit drinkingfor the longest’ but reincorporated it into her lifestyle because she’d ‘earned it’.
Last November, she wrote in an essay on Substack: “So here we are halfway through the decade, where extended sizes are being magically erased from websites.
Lizzo looked incredible in another red bikini she posted a video on social mediaCredit: UnknownThe star rocked a fuller figure back in 2023Credit: Getty
“Plus sized models are no longer getting booked for modeling gigs. And all of our big girls are not-so big anymore.”
She said: “We’re in an era where the bigger girls are getting smaller because they’re tired of being judged.
“And now those bigger girls are being judged for getting smaller by the very community they used to empower.
“There’s nothing wrong with living in a bigger body. There’s nothing wrong with being fat.
“But if a woman wants to change, she should be allowed to change.”
That sound of breaking glass? It’s Hong Kong-born conductor Elim Chan, 39, shattering a particularly stubborn ceiling after being named the first woman to lead the San Francisco Symphony in its 115-year history. Her title is currently Music Director Designate, and when she officially steps into the job of music director in September 2027, she will become the first woman to lead a major American orchestra.
Chan arrives as the orchestra’s 13th music director at a precarious moment for the organization, which in 2024 was rocked by the resignation of its last music director, Esa-Pekka Salonen, who declined to renew his contract after five years and said he didn’t share the same vision as the orchestra’s board of governors. Like many arts organizations, the symphony is still struggling with a pandemic-precipitated drop in attendance and a shrinking budget.
Fans will get their first chance to see Chan in action on June 5 and 6 when she’ll take the stage in a program including Richard Wagner’s Prelude from “Tristan und Isolde,” Hector Berlioz’s “Les Nuits d’été” wih mezzo-soprano soloist Sasha Cooke, and Claude Debussy’s “La Mer.”
“In Elim Chan, we have found a musician of unusual gifts and a leader of equal substance — a rare combination, and the one behind her remarkable international rise,” said San Francisco Symphony Chief Executive Matthew Spivey in a news release. “What sets her apart on the podium is the conviction she brings to the music itself. Works orchestras have played a hundred times sound newly made under her hand, lit by a feeling for structure, color, and emotional architecture that audiences hear before they can name.”
Chan studied piano and cello in Hong Kong before moving to the U.S. to attend Smith College. She went to graduate school at University of Michigan, Ann Arbor, where she ultimately earned a Doctor of Musical Arts degree in 2015. The year before that she became the first woman to win the prestigious Donatella Flick LSO Conducting Competition, and was named assistant conductor of the London Symphony Orchestra.
Chan made her conducting debut with SF Symphony in January 2023 and has conducted the orchestra twice since. A rep for the the group said the feedback they’ve received from “our Orchestra, press, our audiences, and donors has been remarkable.” Chan is, indeed, a electrifying presence to behold onstage, a fact that no doubt played a major role in the search committee’s decision.
And now audiences get to delight in her fresh, invigorating approach to the conductor’s podium. Glass ceilings should be broken more often.
I’m Arts editor Jessica Gelt rooting for something new and different. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
David E. Frank and Nicolet Anton in “Limonade Tous les Jours: A Paris Love Story” at City Garage.
(Paul Rubenstein)
Limonade Tous les Jours: A Paris Love Story Romance in the City of Lights from Obie Award-winning playwright Charles L. Mee, in which a young chanteuse and a reserved American in his 50s ponder amour amid classic French cabaret songs. 8 p.m. Fridays and Saturdays; 4 p.m. Sundays, through June 28. City Garage, 2525 Michigan Ave., Building T1, Santa Monica. citygarage.org
Three Lives Written, directed by and starring Alex Xander Luu, this solo theater performance shares the dramatic, sometimes humorous, story of the Luu family’s escape from Saigon in 1975 through the perspectives of a father, son and grandson. 8 p.m. Friday-Saturday; 2 and 8 p.m. Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
David Call and Lena Dunham in the movie “Tiny Furniture.”
(Joe Anderson / IFC Films)
Tiny Furniture Multi-hyphenate Lena Dunham’s breakout 2010 indie feature about a new college graduate adrift in New York City screens with “Welcome to Bushwick a.k.a The Crackcident,” an episode from Dunham’s series “Girls.” 7:30 p.m. Friday; 6 p.m. Saturday. The Eastwood (Oxford Underground), 1089 N Oxford Ave. eastwoodpac.stagey.net
SATURDAY
Daisuke Ryu in Akira Kurosawa’s 1985 film “Ran,” screening Saturday at the Academy Museum.
(Winstar Cinema)
Darkness and Humanity: The Complete Akira Kurosawa The series continues with 35 mm screenings of “Ran,” the filmmaker’s 1985 adaptation of Shakespeare’s “King Lear” transported to 16th century Japan; and “Kagemusha,” a 1980 feudal epic executive produced by George Lucas that helped revive Kurosawa’s career and cement his legacy. “Ran,” 7:30 p.m. Saturday; “Kagemusha,” 6:30 p.m. Sunday. 6067 Wilshire Blvd. academymuseum.org
“Cut Piece,” 1964, performed in “New Works of Yoko Ono,” Carnegie Recital Hall, New York, filmed by David and Albert Maysles. Part of the exhibit “Yoko Ono: Music of the Mind” at the Broad.
Yoko Ono: Music of the Mind The first solo museum exhibition in Southern California of the singular artist, musician and activist, organized in collaboration with Tate Modern, London, includes work from her seven-decade career; direct participation by visitors will be invited in many of Ono’s transformational works. Through Oct. 11. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
Artist Kyungmi Shin, whose solo exhibition “My Fantasy’s Burdens” is currently showing at Perrotin Los Angeles, talks with Aleesa Pitchamarn Alexander on Sunday.
(Todd Gray)
Kyungmi Shin The L.A.-based artist will discuss her work, including the current exhibition “My Fantasy’s Burdens,” with Aleesa Pitchamarn Alexander, curator of Modern and Contemporary Art at the Cantor Arts Center and co-director of the Asian American Art Initiative at Stanford University. “My Fantasy’s Burden” includes both paintings and ceramics by Shin, featuring the artist’s practice of interrogating the Asian American diasporic identity, focusing on the cultural, economic and scientific consequences of colonialism. 4 p.m. Saturday; the exhibition concludes May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com
SUNDAY Bob Dylan double feature It’s the music icon’s 85th birthday and what better way to celebrate than with screenings of his 2021 concert film “Shadow Kingdom,” directed by Alma Har’el, and the 1987 musical melodrama “Hearts Of Fire” — one of Dylan’s forays into acting — directed by Richard Marquand. 7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
Stephen Schwartz performs during the Songwriters Hall of Fame induction and awards gala in 2025.
(Charles Sykes /Invision / AP)
An Evening With Stephen Schwartz Katharine McPhee, Joey McIntyre, Loren Allred and other performers join the celebrated composer-lyricist for a benefit concert to help the Altadena Music Theatre recover from the Eaton fire. Schwartz has won three Oscars, three Grammys, four Drama Desk Awards, a Golden Globe and the Richard Rodgers Award for Excellence in Musical Theater, in addition to six Tony nominations for shows including “Wicked,” “Pippin” and “Godspell.” Preceded by a VIP cocktail hour. 7:30 p.m. Manoukian Cultural Performing Arts Center, 2495 E. Mountain St., Pasadena. altadenamusictheatre.com
Arts anywhere
New and recent releases of arts-related media.
An Evening with Nicole Scherzinger
The lead singer of the Pussycat Dolls crowned her triumphant, Olivier- and Tony-winning turn as Norma Desmond in the musical revival of “Sunset Boulevard” with a series of solo concerts at prestigious venues (including Walt Disney Concert Hall). The latest edition of “Great Performances” captured Scherzinger’s performance at London’s Royal Albert Hall in October 2025, when she sang showtunes, covers and songs from her own repertoire. 9 p.m. Friday on PBS and streaming on the PBS app
“Reading Pictures: A History of Illustration,” by D.B. Dowd.
(Princeton University Press)
Reading Pictures: A History of Illustration
In this visual chronicle, D.B. Dowd, a professor of design and American culture studies at Washington University in St. Louis, follows this unique art form from relief prints and woodcuts in ancient China and Japan, through the development of the printing press in 15th century Europe, and on to modern developments such as illustrated news, recreational reading and ad-driven consumer culture. Dowd reconsiders the traditional narrative to view illustration in the context of race, gender, literacy and cultural memory. The book examines the integration of reading and looking, the increasing prevalence of images in the digital age, and what it means to be literate in the 21st century. Princeton University Press: 400 pages, $60
— Kevin Crust
Culture news and the SoCal scene
Kylie Victoria Edwards and Daniel Yearwood in “Brigadoon” at Pasadena Playhouse.
(Jeff Lorch)
Theater lovers rejoice: “Brigadoon” at the Pasadena Playhouse may be the “best local staging of a musical” Times theater critic Charles McNulty has seen in 20 years covering the scene for The Times. The revival, directed by Katie Spelman with an updated book by playwright Alexandra Silber, is “the high-water mark so far of Pasadena Playhouse producing artistic director Danny Feldman’s ongoing reexamination of the American musical canon,” McNulty writes. In the same column, McNulty notes that another classic musical revival, “Flower Drum Song” at East West Players, does not hit its mark.
The Skirball Cultural Center‘s latest exhibit takes on the genesis of Punk rock in the 1970s, and traces its rise from the UK to New York and Los Angeles. The exhibit, “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976-86,” pegs punk’s year zero to 1976, “when the Ramones debuted their self-titled record. That same year, the Sex Pistols cursed on live TV, John Holmstrom and Legs McNeil co-founded Punk magazine, and the Damned released the first British punk single, ‘New Rose’.”
Erin Davis, son of Miles Davis, poses for a portrait during Musichead Gallery’s photography exhibition marking a centennial celebration of the jazz musician.
(Jason Armond / Los Angeles Times)
As the world celebrates the centennial of jazz legend Miles Davis, a unique photo show is happening at Musichead Gallery on Sunset Boulevard. “The show celebrates the late jazz musician’s centennial through imagery captured over a career spanning nearly five decades,” writes staff writer Julius Miller, noting that some of those photos have not even been seen by members of the Davis family.
Times classical music critic Mark Swed sat down for an exclusive interview with Los Angeles Philharmonic Music and Artistic Director Gustavo Dudamel as he readied to play his final shows with the orchestra at Walt Disney Concert Hall before departing for the New York Philharmonic. “I’m living here and I’m not living here,” Dudamel told Swed. “The connection will always be here.”
Swed also weighed in on two performances marking composer Philip Glass’ 90th birthday (which arrives at the end of January): Paris Opera’s “shocking” new “noir” production of Glass’ “Satyagraha”; and a UC Santa Barbara Arts & Lectures-commissioned show called “Philip Glass and the Poets,” which premiered at Campbell Hall featuring readings by performance artist Taylor Mac and dancer/choreographer Lucinda Childs.
Lisa Waund’s work in the Joy Department at the Hospital of Emotions at St. Vincent Medical Center.
(Carlin Stiehl / For The Times)
The Times got an exclusive first look inside the soon-to-open Hospital of Emotions, which features 70 artists in a takeover of 80 rooms at the shuttered St. Vincent’s Medical Center on the outskirts of downtown L.A. The sprawling immersive art project is divided into various departments including joy, fear and sadness, and shines a spotlight on wellness and mental health.
Meow Wolf L.A. won’t open until later this year, but The Times got an early look at a new character that will be featured in the immersive art space. Its name is WoWoW and it’s the creation of the experimental video art collective Everything Is Terrible. Read all about the “20-foot-tall, 1,000-pound amoeba-like creature” here.
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Guests enjoy wine and friendship at the Barnsdall Art Park Foundation’s weekly wine tasting.
(Janna Ireland / Barnsdall Art Park Foundation)
Barnsdall Friday Wine Nights are returning for a 17th year. The event is set to begin May 29 and run through Sept. 11, every Friday evening from 5:30 to 9:00 p.m. Located on the West Lawn of Frank Lloyd Wright’s magnificent Hollyhock House, the gathering occupies one of the city’s most magical outdoor spots. A $55 general admission ticket gets you four glasses of wine from Silverlake Wine, along with a rotating lineup of food trucks. DJs also regularly perform throughout the series. Best of all: Proceeds support arts programming and preservation at Barnsdall Art Park. A rep for the event notes that, “this year’s fundraiser is especially critical amid proposed budget and staffing cuts to the City of Los Angeles Department of Cultural Affairs.”
Break out your best picnic basket and blanket: Independent Shakespeare Co. has announced this summer’s Griffith Park Free Shakespeare Festival, which runs outdoors every year at the park’s Old Zoo. This year’s lineup includes the Bard’s “Coriolanus” and “The Comedy of Errors.” Performances are free, but registration is requested at www.IndieShakes.org.
Rylan Clark is the latest celebrity to be grilled on ITV’s The Assembly, where autistic and neurodivergent interviewers pose no-holds-barred questions
Rylan Clark was left stunned when probed about his ex-husband on ITV’s The Assembly(Image: WireImage)
Rylan Clark was left stunned when probed about his ex-husband on ITV’s The Assembly. The Radio 2 star, 37, is the latest celebrity to be grilled on the experimental programme, where autistic and neurodivergent interviewers pose no-holds-barred questions to a host of famous faces.
Rylan knew he would be asked some difficult questions on the show, but when one interviewer brought up the topic of him cheating on his ex, Dan Neal, who he split with in 2021 after six years of marriage – he was floored.
Caught completely off-guard, Rylan was asked: “When you told your husband you cheated on him, he divorced you. Is honesty always the best policy?”
“Oh, wow”, Rylan replied, taking a deep breath. “Yeah, I think it is. I’m okay admitting I’m in the wrong, because actually I don’t deal well with guilt and I don’t deal well with secrets.”
After his split with Dan, the TV star took a lengthy sabbatical from all his television work and admitted he’d grappled with suicidal thoughts. Telling the interviewer he had been “really ill”, he shared: “It made me so ill, like so ill. It sounds a terrible thing to say, but I’m glad it happened.”
In another curveball, the former X Factor icon then admitted he didn’t “regret anything” as he shed more light on their break-up. Lifting the lid on life post-divorce, he said: “Do you know, I never think of him.
“So, this is like, my whole body just went [tense]. I miss feeling like I’ve got it all. I thought I had life done – I’ve got the job, I’ve got the family, I’ve got the marriage, I’ve got the car, I’ve got the house.
“I thought I had it sussed. I didn’t have anything sussed. I didn’t know what was a real relationship, and I can look back now and know that I don’t regret anything.
“I don’t regret anything, so I’ll leave that up to your imagination.”
Speaking to a make-up artist during a break from filming for the programme, Rylan, who went public with new partner Kennedy Bates in January, said he was pleased he took part in The Assembly, even though it was uncomfortable.
He said: “I’m so glad I did this. But yeah, [the] Dan questions, I was like [surprised] – I don’t even say his name. When my marriage ended, you know that term when someone says, ‘To pull the rug from under you?’
“That’s the only way I can describe it. It’s like someone went like that and I fell over, and I couldn’t get back up. [It was] like I broke both my arms and legs.”
Admitting he didn’t think he was going to “get out of it”, he concluded: “I went back to live with my mum because I didn’t want to be in my house, because there were too many memories of things in there.”
Ricky Martin had to stop his concert Thursday in Montenegro after someone in the audience “discharged tear gas toward the stage,” causing an “abrupt” interruption to the show as fans retreated and got any needed medical attention, the singer’s publicist said in a statement posted on Instagram.
The show did go on.
“As a precautionary measure, Ricky Martin and his entire team exited the stage while security personnel and local authorities worked to contain the situation and ensure the safety of those in attendance,” the statement said.
“We didn’t understand what was happening,” one shaken Montenegran concertgoer said on Instagram during the outdoor show. “Suddenly, people started pushing each other, and we smelled pepper spray. Many people quickly covered their mouths and left the area. I don’t know if there’s still anyone in the area right now. I didn’t see what the police did. I can hear that the concert has started again, but I left the area. I hope everyone is OK.”
Whether the substance was tear gas — which, incidentally, is a powder, not a gas — or pepper spray is unclear. Both substances have similarly irritating effects, despite different ingredients. Tear gas is typically employed by law enforcement for crowd control while pepper spray is often used by individuals for self-defense, according to hazmat and crime-scene cleanup company Bio Recovery, which operates mainly in the American south. Both substances can disperse widely in the air.
Martin, 54, decided to resume the show once authorities said everything was back under control even though “members of the artist’s team advised against continuing the performance,” the publicist’s statement explained.
The headlining performance, which was part of festivities marking the 20th anniversary of Montenegro’s restored independence following the breakup of the former Yugoslavia, came as the “Livin’ la Vida Loca” singer gets ready to embark on a European tour with dates in Italy, Switzerland, Germany, Czechia, Poland, Hungary, Istanbul and more from June into August.
Also Friday, Martin announced he would join the U.K.’s Heritage Live Festivals with a show Aug. 22 at the Royal Sandringham Estate in Norfolk with Sugababes, Olly Alexander and Sophie Castillo. It will be his only U.K. show in 2026. Other artists appearing in Heritage Live shows in July and August include UB40, Lionel Richie and Eric Clapton.
“The rise of Latin music as a global force has been phenomenal, and we’re thrilled to welcome one of the true pioneers who helped bring it to a massive international audience,” Giles Cooper of Heritage Live Festivals told the BBC. “It’s set to be an incredible party.”
Martin, who hails from Puerto Rico, joined Bad Bunny’s all-Spanish halftime show at Super Bowl LX in February with a 30-second cameo in a scene invoking the cover of the latter singer’s album “Debí Tirar Más Fotos.” Clad in all white, Martin sat in a white chair and dove into “Lo Que Le Pasó a Hawaii,” a ballad that implores Puerto Ricans, should the opportunity arise, to resist compromises that Hawaiians made when those islands became a U.S. state in 1959.
REBEKAH Vardy insists that “hell will freeze over” before she ever apologises to former pal Coleen Rooney over their Wagatha Christie row.
The wife of footie star Jamie said she must live with her libel loss to Wayne Rooney’s missus.
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Becky Vardy insists that ‘hell will freeze over’ before she ever apologises to former pal Coleen Rooney, Jamie and Becky look the part in the new showCredit: Refer to sourceFormer pals Becky and Coleen at the 2016 EurosCredit: Splash News
But Becky, 44 — accused of leaking stories about Coleen — said: “I’m never going to apologise for something I didn’t do. Hell will freeze over before I do that.”
Rebekah says her Wagatha Christie beef with Coleen is “done, it’s over” — and does not care what her ex-pal thinks about her.
The wife of former Leicester striker Jamie insists her own “peace” is more important amid the fallout to their legal battle.
In new ITV reality show The Vardys, she admits to still suffering from a public backlash after losing her libel case against Wayne Rooney’s missus. Becky, 44, had taken legal action after Coleen claimed stories about her were leaked from her Instagram account.
And she says: “I’m living with the judgment the judge made but, still to this day, I believe she was wrong.”
The mum of five goes on: “People constantly go, ‘Well, it’s not going to change anything unless you apologise’ — but I’m not apologising for something I didn’t do. Like never, ever, going to apologise for something I didn’t do — it’s never going to happen. Hell will freeze over before I do that.
“It’s over, it’s done, I’m not going to carry on living in the past. I’m so f***ing bored of it.”
Becky, 44, was accused of leaking stories about ColeenCredit: Dan CharityRebekah says her Wagatha Christie beef with Coleen is ‘done, it’s over’ — and does not care what her ex-pal thinks about herCredit: Getty
She says: “I don’t have any negative feelings towards her whatsoever. Some people might go, ‘That’s bull’, but whatever, that’s your opinion. If I ever saw her or bump into her, people will assume it’ll be like handbags at dawn, or ‘Birkins at dawn’, whatever they want to say. ‘Wag War 4’. I’ve forgotten how many headlines have been ‘Wag War’, but my peace is too important.”
She adds of her one-time friend: “I’ve got no idea what she thinks of me, but I’m not bothered.”
In new ITV reality show The Vardys, Becky admits still suffering from a public backlash after losing her libel caseCredit: Dan CharityThe wife of former Leicester striker Jamie insists her own ‘peace’ is more important amid the falloutCredit: Dan Charity
Becky’s Prem-winning hubby has stayed silent on it, until now.
He says: “Becky’s a strong woman. If she wasn’t, it would definitely have broken her 100 per cent. But that’s not her.”
He adds: “People thinking that Bex was a villain, it’s just a load of s but everyone close to her knows, that’s all she needs. It was really tough seeing Bex in pain, obviously with all the crap coming her way. As a husband, the only thing you can do is be there for her.”
The couple celebrate their tenth anniversary today — and their close bond is evident during The Vardys’ opening episode.
Becky with Jamie at the trialCredit: Splash
Timeline
OCT 2019: Coleen Rooney says stories about her were leaked from Rebekah Vardy’s Insta account.
JUN 2020: Becky launches libel proceedings.
FEB 2022: WhatsApps emerge between Becky and agent Caroline Watt, who claims her phone was lost in the North Sea.
APR 2022: Becky blames Caroline for the leaks.
MAY 2022: Blockbuster trial starts at the High Court, with Coleen and Becky’s husband there.
JULY 2022: Becky’s claim is dismissed, with a judge ruling that it is likely she “knew of and condoned” the leaking.
MAY 2025: She is ordered to pay Coleen’s legal costs of around £1.2million.
Whether it’s playfighting in their home gym, Jamie’s disdain for her “banana breath” or Becky’s utter bewilderment at how “chilled out” her husband is, they are perfect reality TV material.
Becky says: “We have five kids, but if you include Jamie in that, we have six.”
Jamie is seen telling his young children about him leaving Leicester after 13 years.
But the transfer was far from straightforward — as he was initially bound for a Dutch club.
Coleen and Wayne pictured leaving the courthouseCredit: Getty
VIEWERS of The Vardys will see Jamie get off to the worst possible start at new club Cremonese.
Their biggest-ever signing — and highest-paid player — suffers an untimely injury ahead of his debut against Parma.
Vardy says he’s torn a thigh muscle and adds: “The kids and everyone have come over to watch the first game and Daddy’s not playing.”
His injury concerns start to worry Becky, who questions whether they were right to relocate.
She asks: “Why have we moved? What’s the upheaval for?”
Her mood then darkens in the second episode, which is teased as the opener comes to an end.
The Vardys’ new villa is raided by robbers, leaving them shaken — and Becky without a much-loved piece of jewellery.
She screams: “They’ve taken my f***ing watch.”
Becky says to the camera: “When something like this happens it makes you question everything.”
Things continue to spiral as their new life in Italy moves from one disaster to the next.
Jamie says of his wife: “It’s horrible — she’d happily go home right now.”
Becky rants: “The last 24 hours has been a total s*** show. Yesterday morning we were all on holiday in Portugal, chilling, rosé, life couldn’t get any better. And then Jamie tells me, ‘I’m going to sign for a Dutch team.’ I ask him, ‘Are you sure?’ And he seems pretty sure at that point.
“So I thought, ‘OK, that’s fine then, we’re going to Holland’ and literally, just as we’re boarding a flight home from Portugal, he changed his mind — standard Jamie.
“We landed back in the UK at 3pm, dropped the kids off, went straight back to the airport and back out on a flight to Italy.”
The Vardys starts on ITV, June 2, 9pm, with all episodes on ITVX.
The celebrated singer, 57, has just opened up about her rise to global stardom in new Netflix documentary show Kylie. Tracking her career from soap star to chart-topper, the series features interviews with those closest to the Australian celebrity.
However, her brother Brendan only makes a brief appearance in the show. In Episode 1, Kylie’s brother is shown during a scene where the Minogues gather around for a bonfire. Fans will also spot her sister Dannii, mum Carol, dad Ronald in the segment.
So who exactly is the mysterious Minogue sibling?
Who is Kylie Minogue’s little-known brother?
Kylie’s younger brother is 55-year-old camera operator Brendan Minogue.
He prefers to stay out of the spotlight but has been spotted in his sister’s other projects, including the 2001 special An Audience with Kylie Minogue.
While little is known about the Minogue brother, it seems the three siblings shared a positive childhood.
In her Netflix show, Kylie reflects on their upbringing fondly. “I was raised without any putdowns, without ever hearing ‘You can’t do this, you can’t do that,'” she explains. “We were just encouraged to do what we loved.”
The singer has also cited Brendan as part of her solid support system. In an interview with the BBC, she confessed: “When it’s not going well, that’s who I turn to – Mum, Dad, my brother and my sister.”
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She revealed in the same interview that Brendan taught her a stress-relief technique that was crucial during the start of her career.
It’s called the foofer valve, she said, adding: “When the emotion has got to come out, or you’ve got to have a big cry or a moan, you let out a noise, tsssssh, like a kettle letting off steam, and you’re like, ‘Oh, I feel so much better’.”
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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
As well as a glimpse into her family life, the three-part Netflix doc offers insight into the pop icon’s decorated career.
A synopsis teases: “Featuring footage from home movies, personal photographs, and new interviews with Kylie herself, the documentary shows the woman behind the hits. It examines how she’s faced public scrutiny, personal loss, and illness with grit and grace, earning respect far beyond her own fandom.”
ITV viewers were quick to issue the same complaint about Danny Dyer and Emily Atack’s new gameshow Nobody’s Fool
Emily Atack and Danny Dyer host the new ITV gameshow (Image: ITV)
ITV viewers have ‘switched off’ new gameshow Nobody’s Fool after voicing identical complaints.
Fronted by actors Danny Dyer and Emily Atack, the quiz-based series features ten strangers battling it out for a whopping £100,000 prize fund. Unlike the majority of gameshows, this programme isn’t about how intelligent contestants are, but rather how intelligent others perceive them to be.
Each participant tackles a general knowledge quiz in private, with their correct answers contributing money to the prize. Having completed the quiz, players can opt to lie or tell the truth about their performance.
The genuine tension of the game emerges during the eviction task, where contestants must pinpoint the person who contributed the least to the prize fund based purely on their impressions of their fellow players.
Victory hinges on persuading the other contestants that you’re clever enough to remain in the game, even if that means double-crossing them, reports the Daily Star.
Despite its fascinating premise, viewers were swift to condemn the new programme for allegedly “ripping off” BBC’s The Traitors.
Taking to X, formerly Twitter, one viewer wrote: “So this #nobodysfool is 100% a rip off of #Thetraitors.”
As devotees of the BBC gameshow will recognise, The Traitors is similarly a game of deception, which relies on players’ perceptions of one another. The Traitors is also set in a castle, while Nobody’s Fool takes place in a manor.
Someone else drew the same parallel, writing: “Budget version of The Traitors #NobodysFool,” while a third contributed: “#NobodysFool so this is another traitors/ fortune hotel rip off.”
Others were swift to switch off the programme. “Nope 2 minutes in and off #nobodysfool,” remarked one, while someone else noted: “Nodding off already. Surely not another itv flop.”
Despite the harsh judgements, however, some ITV audiences are prepared to give the gameshow an opportunity. One commended: “I’m liking #NobodysFool so far not a bad opening.”
While a second concurred: “#NobodysFool seems okay at the moment.”
And yet another viewer offered a measured assessment, declaring: “Too many shows these days are trying too hard to replicate The Traitors – and failing miserably. #NobodysFool however is decent so far and already a lot better than #TheNeighbourhood.”
The first-ever winner of Britain’s Got Talent has spoken out about the ITV show’s format and says it needs to change to survive.
Shivon Watson Screen Time Reporter
09:25, 23 May 2026
Paul Potts tells GMB how he feels watching his Britain’s Got Talent audition back
Britain’s Got Talent winner Paul Potts has spoken out about the iconic talent show and its current format.
The 55-year-old, who claimed the inaugural title on the ITV programme back in 2007, has voiced his concerns about international acts who have already reached the semi-final stages on other Got Talent franchises subsequently competing in the British version.
While making clear he has “no problem” with overseas performers appearing on the show, Paul insisted the programme must “adapt” to remain relevant.
Speaking exclusively to Sky Vegas, he said: “I’ve got no problem with international acts because British people have won America’s Got Talent before. Paul Zerdin won America’s Got Talent, so it works both ways. Some of the international acts this year have been fantastic and they bring real quality to the competition.”
He continued: “But I don’t think people who’ve already made a Got Talent final anywhere in the world should then be allowed to compete in another regular Got Talent series. Otherwise, it just becomes the same people endlessly auditioning across the franchise.”
“For me, if somebody has already reached a live semi-final, they should maybe get one more shot and that’s it. It’s not just meant for amateurs and complete novices. Professionals can absolutely compete, but it can’t just become a revolving door of career talent show contestants.”
Paul also suggested that the programme needs to venture across the UK in search of potential performers. He went on: “The format of Britain’s Got Talent needs to adapt.
“I think they need to start going around the country again like they used to instead of concentrating everything into one or two locations. Go out to seven or eight cities and really search for more homegrown talent. That would encourage more people from around the UK to audition.
“They also need to focus purely on quality once it gets to the semi-finals and finals. Bring novelty acts back to perform in the live shows for entertainment, but don’t have them there as actual semi-finalists because it feels a little disrespectful to the contestants who genuinely have a realistic chance of winning.”
Paul further noted that he believes the Golden Buzzer is ineffective in the semi-finals and that Piers Morgan ought to make a comeback to the programme, reports the Daily Star.
He continued: “I think it’s good to have diversity on the panel. KSI brings energy, and I don’t think there’s really anything wrong with the judging panel itself. The issue for me is more about the structure – you either need one more judge or one fewer judge, so you don’t keep ending up in deadlock situations.
“If they were going to add another judge, I’d say bring Piers Morgan back. I’m sure he’d shake things up a bit. I’m not sure he’d do it again, but it would certainly make things interesting.”
Britain’s Got Talent continues Saturday, 23rd May at 7pm on ITV1.
Millions of Brits visit Spain each year(Image: Getty/Isabel Pavía)
Millions of holidaymakers head to Spain each year, with the nation being a firm favourite with those from the UK. Prior to Brexit, British travellers could enter Spain fairly easily.
However, since the UK left the European Union, new rules have come into force. For instance, your passport must display a ‘date of issue’ that falls within 10 years of your arrival date, and if you renewed your passport prior to October 1, 2018, it could carry a date of issue exceeding 10 years, rendering it invalid for entering the Schengen zone (which includes Spain).
As well as this, those travelling on a British passport can only visit the Schengen area for 90 days in any 180-day period. And if you’re entering Spain you’ll need to scan your passport, have a photo taken of your face, and scan four of your fingerprints, under the new Entry/Exit System (EES).
Once you have registered for travel under the EES, your digital EES record is valid for three years or until your passport expires if this is within the three year window. According to the Foreign, Commonwealth and Development Office (FCDO), alongside a valid passport, UK visitors may also be required to produce a return or onward ticket and/or proof of valid travel insurance at border control.
You may also need to prove you have enough money for your stay, and show proof of accommodation. This could be a hotel booking, or the address of a property you own. Alternatively, this could be an invitation if staying with friends, family, or a third party, such as a ‘carta de invitation’ completed by your hosts.
A Loose Women panellist spoke about her health problems after rushing for help before the live show.
The Loose Women presenters addressed dentist troubles (Image: ITV)
Loose Women panellist Jane Moore has revealed she rushed to medics for help before a live show.
The panellist joined Christine Lampard, Judi Love and GK Barry on Friday’s programme, where the presenters were discussing dentist appointments.
At one point after a break, Christine teased: “Do you fear losing your teeth as dentists warn they’re overwhelmed?” before jokingly adding: “Jane is here to tell us all about nearly having to rush a dentist onto the studio floor, that was only a couple of weeks ago… it was touch and go, wasn’t it?”
Laughing it off, Jane explained that she had turned up to the studio one morning, and as she was eating, a tooth “fell” into her mouth.
“I thought, ‘What the hell’s that?'” she went on, saying the others had been laughing at her during their morning meeting.
Jane continued: “So I then had to get on a bike and go to the dentist in the middle of the meeting, he was on holiday!
“Anyway, it was a whole thing, so I came back with the tooth, got some gummy stuff and literally put it in.
“People might have noticed – I’m normally quite gobby – [but] I barely said a word. I thought, if I say anything slightly emphatic, my tooth is going to go!”
She added that her loose tooth resulted from receding gums, and she’s now waiting to get it properly fixed after a temporary solution.
This comes after fellow ITV star Kate Garraway made an emergency dash to a dentist after her teeth fell out moments before Good Morning Britain.
She later took to Instagram to explain she’d had an “unfortunate collision” resulting in two front teeth getting cracked.
She said: “Letting you in on the horror behind the scenes on Monday’s show…
“After an unfortunate collision with a taxi window at the weekend I cracked my two front teeth caps.. of course. They then fell out just before going on air.
“All I can say is it’s hard to appear young and cool in front of a whole new team of trendy producers when you are reduced to gluing your teeth on with denture fixative at three in the morning!!!”
Kate continued: “An emergency trip to the dentist means now I have a temporary set of fake teeth … but they are soooo massive.
“Just hoping they hold for @gmb tmrw from 6am with @richardmadeleyofficial – glue at the ready!”
Loose Women airs weekdays from 12.30pm on ITV1 and ITVX.
Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.
Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.
The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.
According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.
Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”
Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”
(Disney)
Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.
Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”
Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.
“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”
In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.
But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.
Eden Espinosa as Zandrya
Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”
(Disney)
Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.
“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”
As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.
“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”
Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.
(Disney)
As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”
“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.
And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”
Yvette Nicole Brown as Lady Saddlespur
Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.
(Disney)
Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.
“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”
“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”
Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”
Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”
Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”
Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”
“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”
Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”
What do we have here? Some of my very favorite actors — Alfred Molina, Alfre Woodard, Clarke Peters and Geena Davis — starring in an eight-episode, B-grade sci-fi comedy-drama, “The Boroughs,” now streaming on Netflix.
Molina plays Sam Cooper, a retired engineer — that will be important — being brought grumbling to the Boroughs, a posh, city-sized retirement community plopped down in the middle of the Southwestern desert. Sam’s late wife, Lily (Jane Kaczmarek, in flashbacks and dreams), had planned the move, but she died suddenly, while they were dancing to Bruce Springsteen’s “Thunder Road,” which will become a kind of trigger and motif going forth. Still, fate — in the form of daughter Claire (Jena Malone) and son-in-law Neil (Rafael Casal) — has pushed him solo to the Boroughs and a house on a cul-de-sac. (Seen from above, the town is laid out in a series of concentric circles, as EPCOT was meant to be when Walt Disney was alive and it stood for Experimental Prototype Community of Tomorrow. That has no relation to this show; I’m just throwing it out to the fans.)
Before this happens, however, we get a preamble. Is that Dee Wallace, the mother from “E.T.: The Extraterrestrial,” as Grace, a former occupant of Sam’s new home? (Why, yes it is.) Grabbed one night by something clearly not human, she’ll leave the show before the first credit rolls; but we’ll know from the start that there’s a monster on the loose. And even before Sam has settled in, he’ll be attacked by her now-widowed husband, Edward (Ed Begley Jr.), who has escaped to his old house from the Manor — a memory care unit more reminiscent of something out of “Squid Game” than anywhere you’d want to park a beloved fading parent — muttering “The key is in the light, the owl is in the wall,” and thereby turning Sam detective.
The joint is run by young Blaine Shaw (Seth Numrich), who supposedly took it over from his father, who took it over from his father before him, with Hollywood-blond wife Anneliese (Alice Kremelberg) by his side. (It is perhaps no accident that we’re also served a background clip from “Double Indemnity,” featuring a blond Barbara Stanwyck.) They radiate a kind of vampiric smoothness, and it will take you no longer to realize that something’s up with these two than it takes to say “Something’s up with these two.”
Mired in grief, Sam is initially reluctant to interact with his new neighbors, until former weatherman Jack (Bill Pullman) breaks down his defenses. Judy Daniels (Woodard) used to be a reporter, her husband Art (Peters) is a pot-smoking old hippie who pretends to go golfing but heads off to a ghost town where he grows mushrooms, “searching for proof that there’s more to life than just knockin’ about and hangin’ out.” Wally Baker (Denis O’Hare) used to be a doctor, but now needs one. (It’s cancer, and terminal, though it doesn’t show.) They have complicated relationships, but there’s nothing better for ironing things out than creeping together through dark tunnels by flashlight, hoping that nothing jumps out at you, engaging in weightless banter as you go.
Davis plays Renee Joyce, a former music manager who came to the Boroughs to stay with her mother after Renee’s husband stole her money, and stuck around; I think she’s meant to be younger than the rest, but if you want to look up Davis’ age, I will wait here while you gasp in astonishment. She’ll hook up with friendly young security guard Paz Navarro (Carlos Miranda); he played drums in a band once, and they were both at Glastonbury in 2010 and love Barbra Streisand. (What are the odds?) He’ll have a lot to do when a Scooby Gang — that old, invaluable, incredibly satisfying trope — finally comes together.
The series was created by Jeffrey Addiss and Will Matthews, who were co-writers on the 2018 Henson Co. puppet epic “The Dark Crystal: Age of Resistance,” from which they have imported a central plot device regarding vital essences and a magical matriarchal figure. (Called “Mother” there and here.) Their 2020 dying girlfriend film “Life in a Year,” directed by Mitja Okorn, has some thematic mirroring here, as well — death hovers over the story — and it seems probable that somewhere in the series’ gestation, they discussed Ron Howard’s 1985 science-fiction flick “Cocoon,” with its retirement home setting and senior-citizen heroes.
Sewn together from these and other scraps of previous paranormal adventure stories, “The Boroughs” is almost entirely predictable — not a criticism, in this context, since surprises in such a story are liable to bring bad news, and our affection for its heroes ought not to be sacrificed in the name of dramatic effect. That is not the kind of sacrifice the age needs, and this is not that kind of series. Nor is B-grade a pejorative, but rather an honorable tradition, especially when it comes to sci-fi and horror. (We’ll get a glimpse of Roger Corman’s original “Little Shop of Horrors” playing on a TV — cathode ray, of course.) Once you get on its wavering wavelength — sentimental, sincere, sweet, a little silly, not overly concerned with making perfect sense — and realize the show is not out to hurt you, it’s a very enjoyable watch.
The roar erupting from the capacity audience inside the Ed Sullivan Theater when Stephen Colbert stepped on the stage of his “Late Show” for the last time made it clear that they did not want him to say goodbye.
Colbert took his final bow as his beloved late-night show came to an end Thursday. The episode was so crammed with top celebrities who showed up to share a last moment with the comedian that it extended several minutes beyond its usual one-hour run time.
Before the official start, Colbert addressed the audience as he thanked the staff, calling the show “The Joy Machine”: “We call it the Joy Machine because to do this many shows, it has to be a machine. But the thing is, if you choose to do it with joy, it doesn’t hurt as much when your fingers get caught in the gears, and I cannot adequately explain to you what the people who work here have done for each other, and how much we mean to each other.”
In his opening monologue, Colbert downplayed the event‘s status, rolling a series of jokes about news stories in New York and New Jersey. But he was repeatedly interrupted by audience members Bryan Cranston, Paul Rudd and Tim Meadows who all became irritated when Colbert informed each of them that they would not be his last guest.
When the show’s supposed scheduled last guest, Pope Leo XIV, refused to leave his dressing room, Paul McCartney popped on stage to a rapturous ovation. The legendary musician presented Colbert with a framed photo of The Beatles when they appeared on Sullivan’s show in 1964.
The only subtle reference to President Trump came when McCartney relayed a story how the Beatles, before their Sullivan appearance, got their faces covered with bright orange makeup. “That’s pretty popular in certain circles these days,” Colbert quipped.
The episode marked the finale of Colbert’s 11-year run on CBS’ late-night show, which he has been counting down since July of last year, when CBS said it was canceling the show because of financial difficulties. “The Late Show” franchise, which Colbert inherited in 2015 from David Letterman, was the top-ranked late-night show, but it faced challenges due to dramatic declines in viewership and a drop in advertising revenue.
However, industry observers also contended the move was tied to Colbert’s relentless criticism of Trump. The decision was announced after Paramount, the parent company of CBS, had settled a lawsuit filed by Trump over a “60 Minutes” interview with then-Vice President Kamala Harris. The company agreed to pay $16 million to settle the suit, which came as Paramount was attempting to get regulatory approval for its merger with Skydance Media, which Colbert called “a big fat bribe.” Trump made no secret of his disdain for Colbert and other late-night hosts who have skewered him and his administration over the years.
Colbert, his guests and others continued to blast Trump in this final week. In his introduction Wednesday of his performance of “Streets of Minneapolis,” Bruce Springsteen said: “I’m here in support tonight for Stephen, because you’re the first guy in America who has lost his show because we got a president who can’t take a joke.”
And Jimmy Kimmel on his ABC late-night series said Wednesday, “I will be watching tomorrow night. I hope that those of you who watch will also tune in to CBS for the last time. Don’t ever watch it again.”
In a tribute to Colbert, Kimmel, another target of Trump, and NBC‘s “Tonight Show” host Jimmy Fallon said their respective shows would not air new episodes during Colbert’s finale.
But the overall vibe on “The Late Show” this week has centered on celebration and spotlighting the show’s comedic formula. Several celebrities who have a special connection with the show made appearances, including Jon Stewart from “The Daily Show” and filmmaker Steven Spielberg.
In one of the more arguably iconic sequences, David Byrne and his band — all attired in bright blue uniforms — appeared Tuesday to perform the Talking Heads anthem “Burning Down the House.” Colbert joined in at the end, dancing in his matching blue outfit.
The late-night host will appear behind his CBS desk for the final time after the network announced last summer that the show would end after 11 seasons.
