stage

CELEBRITY psychic Sally Morgan has threatened a rival with legal action — for using the stage name Psychic Sal.

The TV medium’s lawyers have warned Sally Cudmore to stop using the title or face court action.

They claim Sally, 74, dubbed Britain’s best-loved psychic, has trademarked Psychic Sally, Psychic Sal and Sally Psychic.

But mum-of-three Sally, 54, told The Sun last night: “To be honest, I didn’t see this coming.

“My name is Sally. It has been since birth. I didn’t borrow it, steal it, trademark it, or contact Sally Morgan for permission.”

She said her family had been doing readings for four generations and jokingly blamed her mum for her name, saying if she had foreseen it “perhaps she would have chosen Janet”.

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Sally, from Eltham, South London, has appeared on Loose Women and This Morning.

She calls herself Psychic Medium Sally Cudmore and uses the handle @psychicsal100 on TikTok.

She said: “How can anyone confuse me with Sally Morgan?

“She is years older than me and looks nothing like me.”

Sally Morgan’s lawyers want her to stop using names such as Psychic Sally, Psychic Sal or similar and make a public statement over the confusion.

And her spokeswoman said: “She is acting in the best interest of her loyal followers to prevent further confusion caused by Sally Cudmore. She is protecting her professional name.”

Before the sci-fi series “Stranger Things” premiered on Netflix, several traditional studios had already passed on it. Its creators were first-time show runners, unknown young actors were cast in lead roles, and even though the show starred kids, it was not for children.

That was nine years ago.

The 1980s-set show about a monster that wreaks havoc on fictional Hawkins, Ind., hit a chord with Netflix’s global subscribers. “Stranger Things” has since become one of the streamer’s most culturally significant shows, with its fourth season garnering 140.7 million views in its first three months and ranking third among its top English-language series. It was instrumental in growing new branches of business for Netflix, including live events, a Broadway production and inspired brands eager to partner on licensed merchandise. It became a major franchise for the platform, a chance to build a universe around its central characters and create its own version of “Star Wars.”

Rayna Lynn Chacon, 26, from Los Angeles dresses as Eleven from “Stranger Things” during the Netflix x CicLAvia event.

(Kayla Bartkowski / Los Angeles Times)

The show helped build Netflix’s reputation as a place that makes big bets on original ideas and, if it’s a hit, can build a large fandom for such programs with its worldwide subscriber base.

Netflix took a chance on show runner brothers Matt and Ross Duffer. The pair never imagined the series, which held its first premiere in Silver Lake at Mack Sennett Studios, would take off the way it did.

That wasn’t lost on Matt Duffer, who stood on stage at the final season premiere inside the historic TCL Chinese Theatre in Hollywood earlier this month. It was the same place “Star Wars” premiered in 1977.

“For me, as a nerd, this is a dream come true,” Duffer told the audience.

In an interview, Bela Bajaria, the chief content officer at Netflix, lauded the success of the series: “You could take a bet on an original story, and grow it to a major franchise that has massive global appeal.”

Other Netflix shows, like “House of Cards,” have certainly captured the zeitgeist before, but co-CEO Ted Sarandos said he believes “Stranger Things” stands above some previous hits.

“This was a lot closer to a ‘Star Wars’ moment,” Sarandos said speaking on stage at the “Stranger Things” final season premiere in Hollywood earlier this month. “This is a show, and these are characters that move the culture, that spawned live events and consumer products and spinoffs and sequels … Everything from the first episode of the first season to ‘The First Shadow,’ the Broadway show, the origin story of the Upside Down, it has been and continues to be a remarkable addition to entertainment culture.”

The four past seasons of “Stranger Things” made it into Netflix’s Top 10 this past week, Netflix said. From 2020 to the second quarter of 2025, “Stranger Things” earned more than $1 billion in global streaming revenue for Netflix and was responsible for more than 2 million new subscriber acquisitions, according to estimates from Parrot Analytics, which tracks streaming data. Netflix declined to comment on Parrot’s estimates.

“Every single streaming service needs that anchor series that drives customer acquisition and helps define the original programming,” said Brandon Katz, director of insights and content strategy at Greenlight Analytics, adding for Hulu it was “The Handmaid’s Tale” and for Disney+, “The Mandalorian.” “’Stranger Things’ has undoubtedly been that for Netflix. Every few years that it does air, Netflix knows there is a guaranteed high ceiling of acquisition, retention and viewership power,” Katz said.

Participants bike past a Demogorgon sleigh during the Netflix x CicLAvia event.

(Kayla Bartkowski / Los Angeles Times)

“Stranger Things” also helped Netflix expand into licensed goods, with brands eager to partner with the platform. There are themed Eggo breakfast foods, Lego sets and clothing.

The series “has been a catalyst for Netflix to explore all of the ways in which a single entertainment property can be turned into an entire global lifestyle,” said Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University.

Its popularity has helped other creative collaborators as well.

Artists whose songs were featured on the show climbed the charts. Kate Bush’s “Running Up That Hill” was featured in Season 4 and reached No. 1 on the Billboard Global 200 and No. 4 on the Billboard Hot 100, 37 years after its original release, Netflix said. Metallica’s 1986 song “Master of Puppets” also broke the U.K. Top 30 for the first time after it played during the Season 4 finale, the streamer added.

The series has been recognized with more than 65 awards and 175 nominations. Netflix estimates “Stranger Things” has helped create 8,000 production-related jobs in the U.S. over its five seasons and, since 2015, contributed more than $1.4 billion to U.S. GDP. In California, Netflix estimates the series contributed more than $500 million of GDP.

Netflix is doing a large marketing push with fan events in 28 cities and 21 countries as the series draws to a close. On Sunday, the streamer hosted a bike ride on a stretch of Melrose Avenue in partnership with CicLAvia where 50,000 fans were encouraged to dress in ’80s attire, or as a “Stranger Things” character. On Thursday, a “Stranger Things” float appeared in the Macy’s Thanksgiving Day parade.

The company began a phased release of the final season with four episodes that debuted Wednesday. Another three episodes will land on Christmas Day and a two-hour finale Dec. 31 on Netflix. The finale will also play in more than 350 movie theaters in the U.S. and Canada on Dec. 31 and Jan. 1.

“Stranger Things” fans Kelly Audrain and Jason Serstock said they have been rewatching the show from the beginning to refresh their memories on the whole tale, and were still on Season 2 as of earlier this month. The couple attended the premiere of the last season in Hollywood.

“The whole costuming and everything was so perfect that you just feel like you’re taken back to the ’80s,” 29-year-old Audrain said, who was dressed as “Stranger Things” character Eleven in a pink dress and sporting a mock bloody nose.

Lilia Lupercio, 53, left, Audrey Haluska, 15, center, and Janet Lupercio, 45, right, from Downey pose for a photograph with a “Stranger Things” backdrop.

(Kayla Bartkowski / Los Angeles Times)

Netflix is expanding the show’s universe with the animated series “Stranger Things: Tales from ‘85” next year. In April, Netflix’s “Stranger Things: The First Shadow” stage play hit Broadway. The company has also opened “Stranger Things” pop-up stores, held live experiences and will feature immersive experiences at its Netflix House locations, including “Stranger Things: Escape the Dark” in Dallas. In Las Vegas, Netflix will offer themed foods like Surfer Boy Pizza at its Netflix Bites restaurant.

The Duffers recently told Deadline a spinoff is in the works at Netflix. Bajaria declined to share anything about that but said, “I think the world is really rich and there’s still a lot of story in there.”

But there are challenges ahead. Netflix, seen as the leader in subscription streaming, has had two major flagship series end this year — “Stranger Things” and Korean-language drama “Squid Game.” Analysts say the company will need to keep pumping out popular shows and movies to keep subscribers coming back.

Netflix has successfully expanded its “Squid Game” franchise to include reality competition series “Squid Game: The Challenge,” where more than 95% of watchers also tuned into the scripted series. Other popular franchises like Addams family series “Wednesday,” pirates tale “One Piece” and Regency-era romance “Bridgerton” are ongoing. Netflix’s hit animated movie “KPop Demon Hunters” will get a sequel.

Separately, Netflix placed a bid on parts of Warner Bros. Discovery, with interest in Warner’s Burbank studios and HBO, according to people familiar with the matter. If the acquisition is successful, it would greatly expand Netflix’s library of titles and intellectual property.

While the Duffer brothers still have projects with Netflix, they recently signed a four-year exclusive deal with Paramount for feature films, TV and streaming projects. Some industry observers viewed that as a loss for Netflix.

Omar Chavez, 42, left, and Jenna Chavez, 28, right, from West Hollywood walk past a poster during the Netflix x CicLAvia event.

(Kayla Bartkowski / Los Angeles Times)

“The Duffers are so young, and they’re just really beginning their journey,” said Tom Nunan, a former studio and network executive. “I have no doubt they’ll be pushing out more hits and more of a variety of successes in the future,” he said, adding that the brothers’ work at Paramount could compete with Netflix.

But Bajaria noted that the Duffers still have some projects in the works at Netflix, including sci-fi series “The Boroughs” and horror series “Something Very Bad Is Going to Happen.”

“They’re always gonna be part of the Netflix family and I’m excited we still have more things with them,” Bajaria said.

Times staff writer Meg James contributed to this article.

“With memories still fresh of an unforgettable occasion for the Ashes Test, we’re delighted to be able to confirm a return to Hill Dickinson Stadium for the 2026 Super League Magic Weekend,” Rhodri Jones, Rugby League Commercial managing director, said.

“This will be the seventh venue to stage Magic since it was introduced as a new concept for sport in 2007 and our clubs, players and supporters are in for a treat.

“It’s a stunning stadium with outstanding facilities at all levels and also superbly located for summer on the waterfront, and with the many and varied attractions of Liverpool within easy reach.

“We continue to work with the Dragons and Toulouse on the feasibility of delivering a very special event in France too and we hope to be able to announce something in the near future on this.”

RAPPER Donald Glover has revealed he cancelled his tour because he suffered a stroke on stage.

The actor, 42, previously told how he needed to focus on his “physical health” when he scrapped the North American gigs in September 2024.

Glover, who performs under the stage name Childish Gambino, initially shared the unfortunate news he was cancelling to his 2.5 million followers on X.

After he then called off the UK tour leg for The New World Tour, he told fans he needed surgery – but did not reveal why.

Now he has told how he suffered a stroke – and how medics also found a hole in his heart.

He spoke out at the Camp Flog Gnaw Festival at Dodger Stadium in Los Angeles last night, after performing a set.

He told the crowds: “I had a really bad pain in my head in Louisiana, and I did the show anyway.

“I couldn’t really see well, so when we went to Houston, I went to the hospital, and the doctor was like, ‘You had a stroke.

“And the first thing I thought was like, ‘Oh, here I am still copying Jamie Foxx’ [the actor who suffered a stroke in 2023].

“That’s really like the second thing. The first thing was like, ‘I’m letting everybody down.’”

He then added how more medical woe was to come and said: “I broke my foot, they found a hole in my heart.

“So I had this surgery, and then I had to have another surgery.

“They say everybody has two lives, and the second life starts when you realise you have one.

“You should be living your life how you want. If we have to do this again, it can only get better.”

HEALTH BATTLES

After canceling his UK tour in 2024, the star released a brief statement.

He said “After my show in New Orleans, I went to the hospital in Houston to make sure of an ailment that had become apparent.

“After being assessed, it became clear I would not perform that night, and after more tests, I could not perform the rest of the US tour in the time asked.

“As of now I have surgery scheduled and need time out to heal.”

He continued: “My path to recovery is something that I need to confront seriously.

“With that said, we have made the difficult decision to cancel the remainder of the North American tour and the UK and European dates.

“Tickets will be refunded at point of purchase.

“I want nothing more than to bring this show to the fans and perform.

“Until then, thanks for love, privacy and support.”

The New World Tour started on August 11 2024 in Oklahoma and wrapped up in New Orleans on September 7th.

Childish Gambino was due to perform in Lyon, France, on October 31st.

Followed by a number of other shows in Italy, Germany, Norway, Denmark and Belgium.

RETIREMENT

The New World Tour was the sixth and final scheduled tour by Childish Gambino.

Earlier this year the singer revealed his plans to retire.

“It really was just like, ‘Oh, it’s done,’” he told The New York Times in July 2024.

“It’s not fulfilling. And I just felt like I didn’t need to build in this way anymore.”

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“I’m not 25 anymore, standing in front of a boulder like, ‘This has to move,’” Donald said.

“You give what you can, but there’s beauty everywhere in every moment. You don’t have to build it. You don’t have to search for it.”

Y la chona se mueve, al ritmo que los Fortniteros toquen.

Starting Friday, “Fortnite Festival” players across the globe can rock out to the story of la chona as Los Tucanes de Tijuana’s mega hit “La Chona” is the latest track to hit the “Fortnite” universe.

The 1995 song — which has long been a staple on party dance floors — has crossed over into international fame thanks to its prevalence on social media and the overall increased visibility of Latinos. People from within and outside of the culture have embraced the track’s playful nature and undeniably catchy melody—Metallica even got in on the fun with a 2024 live cover of the single at a show in Mexico City.

Like “Guitar Hero” and “Rock Band,” “Fortnite Festival” — a spinoff of the popular survival/ battle royale-style online game “Fortnite” — is a rhythm game that requires players to hit notes in-time to properly perform songs as members of a virtual band.

Los Tucanes de Tijuana have long been a staple of the música Mexicana scene on both sides of the border. In 2019, the group became the first norteño band to perform at the Coachella Valley Music and Arts Festival, and have played massive gigs at Dodger Stadium, New York’s Central Park and Mexico City’s Zócalo Plaza.

The band made headlines in 2010 when it was banned playing in its hometown of Tijuana as a result of a 2008 concert in which the group’s lead singer, Mario Quintero Lara, sent his regards from the stage to the city’s most notorious and wanted men, “El Teo and his compadre, El Muletas.”

“El Teo” refers to Tijuana drug cartel leader Teodoro Garcia Simental, who was captured by authorities in 2012. “El Muletas” — which Spanish for “crutches” — was the nickname of Tijuana cartel leader Raydel Lopez Uriarte, who was captured in Mexico in 2010. The moniker stands for the trail of disabled people Lopez Uriarte left behind as part of his brutal attacks.

The shout-out enraged the city’s then-police chief Julian Leyzaola. He said the band’s polka-driven narcocorrido songs glorified drug lords and their exploits and were, therefore, inappropriate to play in a border city that had long suffered from drug-related violence.

“La Chona” is only the most recent playable song available as part of “Fortnite Festival’s” 11th season, which unlike previous iterations, is made up of songs from several performers rather than having only one featured artist. Other artists featured in the latest season include Jennie from Blackpink, Doja Cat, Simple Plan, Elton John, Fall Out Boy, Tyler the Creator, Slipknot and Olivia Rodrigo. Previous seasons of the game revolved around the music of Billie Eilish, Karol G, Bruno Mars, the Weeknd and Lady Gaga.

The “Fortnite” franchise first dabbled in the world of music in 2019 when DJ Marshmello performed a virtual concert on “Fortnite Battle Royale.” It was estimated that over 10.7 million people tuned in for the concert.

With the onset of the COVID-19 pandemic, the Fortnite metaverse became a refuge for artists looking to connect with audiences. Travis Scott performed for over 12.3 million players in April 2020, and Ariana Grande played inside the game in August 2021. Other artists who have rocked the “Fornite” stage are Eminem, Snoop Dogg, Juice Wrld, Metallica and Ice Spice.

As a guitarist, Brian Baker has punk rock and hardcore credentials that are unparalleled. From effectively launching “hardcore” as a genre with Minor Threat when he was a teenager to bringing in the more melodic side of the scene with Dag Nasty and then joining Bad Religion in the mid ’90s, it’s hard to argue that any guitarist has been more influential to their scene than Baker.

“I think I just have a knack for being at the right place at the right time,” Baker says when asked about his contributions to the aforementioned legendary bands. “The key is to respect that legacy and not f— it up. I understand it’s a big deal to a lot of people — much more than it is to me. I’m just the guy who’s playing guitar, but I’ve been fortunate enough to be in bands that have been foundational for a lot of people. I think about that when I get on stage every day. I want to do a great job every time. As long as I’m able to still deliver a performance that I have respect for, hopefully other people will too.”

Standing at a high-top table under a white awning backstage at Riot Fest (Chicago’s massive punk rock festival where most of the acts are either friends of Baker or inspired by one or more of his bands) after nearly a half-century of allegedly just happening upon one iconic band after another, Baker recently released a new project — one that he’s worked on for almost 20 years during his ongoing run with Bad Religion.

A shot of Baker’s guitars on a wood pallet.

(Brian Baker)

Every time the legendary Los Angeles punk band goes on the road, Baker (like most touring musicians) finds himself with entirely too much time to kill before and after their nightly performances. To fill those long hours in strange cities, the 60-year-old D.C. native often turns to the piece of technology that so many use to occupy their free time, his smartphone. But rather than mindlessly scrolling social media or watching YouTube videos, Baker discovered a new passion for photography, constantly using each and every camera lens on the iPhones that have been in his pocket since the original released in the late 2000s.

Until recently, the fruits of Baker’s photography hobby had effectively only existed on his personal Instagram. That was until things started falling into place (“Like many things in my career,” Baker says, consistent in his refusal to take credit for the majority of his successes) for him to release some of his favorite photos as a book, appropriately titled “The Road” (released Nov. 4 via Akashic Books).

A mug shot of Baker’s first band, D.C. hardcore pioneers Minor Threat.

(Brian Baker)

“My wife suggested for a long time that people might want to look at my photographs, and I was like ‘OK, that’s great,’ but never really thought about it,” Baker says, his bandmates and other longtime friends circulating through Chicago’s Douglass Park. “Eventually, a good friend of ours named Jennifer Sakai — who’s a great photographer and has made books in the past — made a mock-up from my Instagram of what a book could look like. I wasn’t looking to make a book, but she basically presented a finished product to me, so I contacted a guy I went to elementary school with, Johnny Temple — who plays [bass] in Girls Against Boys and Soulside and has a publishing company. Much like my more successful rock bands, I walked in after everyone did all the work, and now I’m just going to coattail it.”

With or without the new book, Baker says his time-killing love of photography was born out of the veteran guitarist feeling as though he was forgetting too much and missing some of his key memories from his time on tour. Once he gave up drinking, Baker realized that he needed a way to embrace the 20+ hours each day he wasn’t spending on the stage or getting ready. He started filling his days with long walks and visits to his favorite locales — old churches, interesting buildings, graveyards (“That’s not the goth in me saying this,” Baker jokes) and anywhere else where he entertain himself away from people. And rather than trying to tell the story of the last 18 years through his iPhone camera, he’s happy just documenting those certain moments and “a lot of different ways to spend your time” in “The Road.”

“I used to take a film camera on tour, and I’d shoot a couple rolls and then forget about the camera and leave it at the hotel or something,” Baker says. “I didn’t really do a good job of being a photographer, because I’m not a photographer. I’m just a guy with a cellphone, but having the phone always on me, I just kept taking pictures of stuff for no real reason. It was like ‘Hey, look at this weird thing’ or “Look what we ate tonight” or “That church is f— up” with no intention of it being a collection or anyone really seeing it beyond my friends and family. Eventually, I got an Instagram account and some of the stuff would go there, but I’m not really a social media maven either.”

Bad Religion bassist Jay Bentley playing a bass.

(Brian Baker)

Aside from his photography skills, the release of “The Road” has also allowed Baker to flex his storytelling muscles at the various bookstores, record shops and more that he’s hitting this fall (including early October dates at West Hollywood’s Book Soup and Fullerton’s Programme Skate & Sound). Although it’s a more intimate setting than he’s used to and he’s lacking his signature guitar, Baker jokes that it’s not so different from performing music, because he’s still “on a stage with a microphone and wearing black pants.”

The book tour has also been an opportunity for Baker to connect with fans and reflect on Bad Religion and his prior bands (along with various side projects like supergroup Fake Names and Beach Rats). While he maintains that his involvement in punk history mostly comes down to happenstance, he believes that Bad Religion’s multi-generational staying power stems from always being “uniquely unfashionable” and having intelligent lyrics about topics that are still relevant. Add in the fact that they’re always improving as musicians and just enjoy getting together without looking at the bigger picture, and “not having a plan has proven to be effective” for the stalwarts.

Photo of Baker’s first amp and guitar

(Brian Baker)

But more than anything, Baker’s lack of planning or direction around his photography brings him back to the DIY nature of his early days creating albums that are now viewed as the very foundation of a four-decade-old global hardcore movement.

“Anybody can do this, so it does remind me of making records when I was very young,” Baker says. “We were just making our own records ourselves and selling them in high school, and that was Minor Threat. You think about how significant that is now, 45 years later, it’s the same thing with taking pictures. I just took a bunch of pictures, and now someone’s made a book out of them. It’s something you can do yourself, and I love that about it.”

MUSIC legend Gary Numan has sparked concern after breaking down in tears on stage.

The 67-year-old is reported to have started weeping while performing  Please Push No More at the O2 Academy Birmingham on Saturday evening.

According to The Mirror, his wife Gemma O’Neil rushed onto the stage to comfort him. 

He is reported to have told the crowd he’d received the “worst news ever” that morning and would share it with fans once he had time to process it.

Gary is expected to appear on stage in Bristol tonight, but did cancel his meet and greet beforehand.

His fans rushed to comment on his wellbeing, with one person writing: Rough to see him so upset during PPNM – not looking forward to hearing the reason in the coming days. Can’t be good. Absolute pro to battle on.”

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Someone else remarked: “He broke down – he had some bad news yesterday. Gemma came onstage and hugged him. Crowd were amazing, so supportive.  Hope he’s ok.”

After it was revealed he would be playing again this evening, another person speculated: “I just hope he’s not overstretching by carrying on with the concert.”

Gary started his tour earlier this week, which celebrates the 45th anniversary of his seminal album Telekon. He is still due to play in Bournemouth, Brighton, London and various other venues.

The Cars singer and his wife, 55, married in 1997 and re-located to LA with their three children in 2012.

The move was the backdrop to documentary Android In La La Land, where cameras followed them and saw him open up about his Asperger’s and depression.

Gemma was originally a member of Gary’s fan club before they found love.

Gary previously said of their relationship: “This is going to sound corny, given that it’s 30 years and four days since our first date, but I miss her even when she’s in a different part of the house.

“She’s everything I am not – which is most things, really.”

It takes a certain composure, as a teenager, to walk out onto Taylor Swift’s stage in a sold-out stadium and play an opening set to tens of thousands of fans who have never heard of you. But it takes even more conviction to use the occasion to play music almost guaranteed to leave them squirming — grimy, bloodletting noise-rock and electro about being a sexual menace and growing disillusioned with God.

The now-20-year-old singer-songwriter Sofia Isella did that last year, opening on the Australian run of Swift’s Eras tour. “Taylor was an angel for allowing me to share that stage,” L.A.-raised Isella said. “I wish I could have recorded that feeling. But the show itself is not as nerve-wracking as it is playing for 20 people. There’s something about a giant room that almost feels a little dissociative, like it’s not really happening or it’s not really there.”

“Dissociative” is a decent descriptor for Isella’s music, too — disorienting, unnerving, drawing out emotions you might not understand. But there’s so much skill in the performances and imagination in her arrangements that they may well get Isella — who plays the Fonda Theater on Nov. 16 — onto much bigger stages of her own, just as the world gets much bleaker around her.

“This next record, I’m having so much fun with s— that’s really f— dark,” Isella said. “It’s like, the only way to stop screaming about it is to have a moment laughing about it.”

Isella grew up in Los Angeles in a family with enough entertainment-biz acclaim to make being an artist feel like a viable career. Yet they still let her be feral and freewheeling in developing her craft. Her father, the Chilean American cinematographer Claudio Miranda, won an Oscar for 2012’s “Life of Pi” and shot “Top Gun: Maverick” and the recent racing hit “F1” (Her mom is the author Kelli Bean-Miranda). Looking back on her bucolic childhood in L.A., Isella recalled it filled with music and boundless encouragement, worlds away from her social media-addled peers.

“I’d been homeschooled my whole life,” Isella said. “My mom would leave little trails of poetry books for me to find, and my dad would set up GarageBand and leave me for hours with all the instruments and nothing but free time. I didn’t even have a phone until I was 16. When I first was on TikTok, I saw everyone had the same personality, because they had been watching each other for so long. Being around kids my age was so strange, because I’d grown up around adults — like, ‘Oh, these kids are so sweet and kind and adorable, but they think I’m one of them.’”

After her family temporarily moved to Australia during the pandemic and Isella began self-releasing music, it became clear that her talents set her very far apart. Drawing on her early background in classical music and a fascination with scabrous rock and electronic music, she found a sound that melded the Velvet Underground and Nico’s elegant miserablism, Chelsea Wolfe and Lingua Ignota’s doom-laden art metal and the close-miked , creepy goth-pop of Billie Eilish’s first LP.

Isella began self-releasing music during the pandemic. Since then, she’s landed opener spots on multiple high-profile tours.

(@okaynicolita)

Her early music showed a withering humor and skepticism of the culture around her (“All of Human Knowledge Made Us Dumb,” “Everybody Supports Women”), but singles came at rapid clip and translated surprisingly well on the social media platforms she loathed (she has 1.3 million followers on TikTok). It all got her onto stages with Melanie Martinez and Glass Animals and, eventually, Swift. (A Florence + The Machine arena tour opening slot is up next.)

On 2024’s writhing EP “I Can Be Your Mother,” songs like “Sex Concept” had the sensual fatalism of poets like Anne Sexton and Sylvia Plath, paired with the drippy erotic menace of Nine Inch Nails. “I’ll bend him over backwards, give him something to believe in,” she sings. “We’ll play the game, both go insane and then we’ll call it even … I’m the only god that you’ll ever believe in.”

“The first EP was this whole story of giving birth to yourself, this giant stretched-out muse,” Isella said, leaning into a stemwinder about the genesis of art. “It just doesn’t feel like it’s coming from me. It feels like it’s coming from some weird thing I somewhat worship.”

A May 2025 follow-up, “I’m Camera,” dealt with the depersonalizing effects of sudden attention. On “Josephine,” she makes tour life feel like a proverbial grippy-sock vacation to the breakdown ward — “I’m sock-footed, sick and selfish holding strangers’ hands … I lost something, I sold it, I only remember the ache.”

Isella’s wariness of institutions extends to her recording career. She’s still independent for now — surprising for an artist on Swift’s radar — and uncompromising about what a label would demand of her compared to what they can provide. “I’ve met with a lot of the big dogs, and they’re very kind people, but I just love the feeling of being independent,” Isella said. “Maybe I’ll change my mind on that, but I’m trying to fully understand a label and what its functions are, what it gives the artist in a social media day. I’m trying to fully assess that before I sign any magic papers.”

Her newest material (and her subversively eerie, Francesa Woodman-evoking music videos like “Muse”) feel perfectly timed to the apocalyptic mood in L.A. and the U.S. now, where an inexorable slide to ruin feels biblical. “Out In the Garden,” from September, hits some of the Southern gothic moods of Ethel Cain, but with a sense of acidic pity that’s all her own. “That there’s a small part of me that’s envious / That you full-heartedly believe someone is always there,” she sings. “That will always love you, and there’s a plan for you out there.”

Even at her bleakest, there’s a curdled humor underneath (her current tour is subtitled “You’ll Understand More, Dick”). But if this little sliver of young fame has taught Isella anything, it’s that even when everyone wants a piece of you, no one is actually coming to save any of us.

“There’s nothing with weight, nothing that’s meaningful, to blind faith,” Isella said. “On this next record, I’m about to go really angry because religion really pisses me off, it inflames me. But it’s the most beautiful placebo to imagine that there’s a father that loves you no matter what you do. I’m a really lucky person in that I’ve always been safe and protected, but if you’ve had a rough life, that is insanely powerful to imagine that and believe that.”

This week, Lionsgate is betting that the odds will be in their favor when “The Hunger Games: On Stage” opens at London’s Troubadour Canary Wharf Theatre.

The play, which is based on the young adult novel by Suzanne Collins and 2012 film that catapulted actor Jennifer Lawrence into the mainstream, is just the latest film-to-stage adaptation from Hollywood.

This isn’t a new playbook. After all, Disney revolutionized the space by adapting its animated films like “The Lion King,” “Beauty and the Beast” and “Aladdin” into Broadway musical hits. But it is one that studios are turning to again, particularly as they look to connect more deeply with audiences and expand the fan base of their franchises.

Last year, Universal Theatrical Group debuted a musical stage adaptation of the 1992 film “Death Becomes Her” on Broadway.

In addition to “The Hunger Games,” Lionsgate has several other theatrical shows in the works, including a stage adaptation of the 2017 film “Wonder” opening in Boston in December, as well as “Now You See Me Live” opening that same month at the Sydney Opera House.

Next year, there will be a stage version of “La La Land,” as well as a new production of the iconic classic “Dirty Dancing.” (Of course, the opposite is also happening, with “Wicked” as the most recent example of a book-to-stage-to-film pipeline.)

“When you look at the way that fans are engaging with entertainment, there are so many different mediums that are important now, and experiential is a big one,” Jenefer Brown, Lionsgate’s president of global products and experiences, said an interview. “With all of us spending so much time online and in digital mediums, the idea of that shared live experience in a theater is something that’s highly appealing.”

But getting “The Hunger Games” to the stage wasn’t easy — the process took almost seven years from the inception of the idea to first previews. As part of the show’s development, the producers also built a custom theater in London. Brown spoke with The Times about why the dystopian franchise was a good candidate for live theater and why communal experiences are so important.

This interview has been edited for clarity and length.

What made “The Hunger Games” ripe for the stage?

It’s an enduring story that has so much relevance to occurrences that happen in the world today. I think that there’s just a ton of cultural significance.

And what we know about “The Hunger Games” is that there’s always a new wave of fans that discover it. Now we’re seeing Gen Alpha reading the books and watching the movies, and of course, we have Gen Z fans and millennial fans, and parents from other generations who have been on the journey with their children. It’s a way to bring aspects of the book to life, maybe in a different interpretation, or to let fans be able to explore certain things in a greater depth than we were able to do on a movie screen.

What does a stage play do for audiences that, say, a series or ride does not?

When you’re seeing something live, we don’t have the tricks that we have behind a camera in a movie.

You have to really find ways to bring the audience on a journey, and you can’t hide anything. That’s part of the magic of the experience, and for fans to be there and be mesmerized by some of the things that we’re executing in real time on a stage with special effects and illusions and real people doing the stunt choreography and the stunt work right in front of you, I think that there’s a lot of value in that type of experience.

Does this allow you to reach different audiences than those who already saw the films?

Obviously, a lot of fans are interested, but I think theatergoers in general, who maybe haven’t been as exposed to “The Hunger Games” or aren’t super fans, are going to be interested from the theater side of it. There’s been a lot of buzz and excitement in London, in the theater world, knowing that we had a new theater being built.

In general, lots of of people want to engage with experiences. We’re seeing just a huge sort of upward trend in interest, particularly amongst Gen Z and Gen Alpha audiences. Someone who maybe has read the books but hasn’t seen the movie yet will come see the stage show and then watch the movie. And I think this idea of all of it feeding each other, depending on which entry point you choose, is a really interesting thing for us as a studio to think about.

Did the pandemic turbocharge interest in live entertainment?

It’s an interest in live stage and live entertainment, and the idea of getting out again, supporting the arts and supporting shared experiences. We’ve definitely seen, thankfully, a recovery and an upswing in that area.

How big of a business is the stage aspect of Lionsgate global products and experiences?

We have three shows opening before the end of this year, and about that number slated for next year. So it really is a very busy and active space for us, and I think more in the pipeline. We probably are spending about a third of our time in this space, and I don’t see that changing.

Stuff We Wrote

Film shoots

Number of the week

$80 million

After a sleepy October, Walt Disney Co. and 20th Century Studios’ “Predator: Badlands” conquered the box office this past weekend, grossing $40 million in the U.S. and Canada for a total of nearly $80 million worldwide.

The haul is the highest global opening for any film in “Predator” franchise history, surpassing 2018’s “The Predator,” which notched $73.5 million.

The strong start for the Elle Fanning-led “Predator: Badlands” provides a hopeful start for November’s theatrical fortunes. So far this year, domestic box office revenue is about $7.2 billion, up 3.1% compared with the previous year, according to Comscore. But when compared with pre-pandemic 2019, that number is still down 24.7%.

Finally …

My colleague, Malia Mendez, wrote about a TV writer who found a second career in ceramics after the slowdown in Hollywood left him out of work. His most popular workshop — Tattoo a Mug.

POP icon has posted a massive apology to fans after being forced to pull out of a show at the last minute.

The New Zealand singer, 29, shared a statement on Instagram on Sunday, explaining she had to cancel her scheduled appearance at Luxembourg’s Rockhal after falling sick.

She explained: “Luxembourg, I am so sorry to have to tell you that I came down with ruthless food poisoning last night, and I’m still too sick to play for you today.

“I’ve been resting all day, hoping I’d be well enough, but I can hardly stand up, and you deserve more.”

“My sincerest apologies to anyone inconvenienced or upset by this,” the singer continued. “I can’t tell you how much I was looking forward to it. Our first ever Lux show, first night at Ultrasound EU, our one show with OK Lou, it’s beyond gutting.”

“Please know that if there was any way I could pull it off, I’d be out there. We are actively working with the promoter on rescheduling, so hold on to your tickets for now.

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“Refunds will be offered if the new date’s no good for you. Thank you for your grace tonight. Love, from a very weak girl.”

The tour cancellation comes as Lorde – real name Ella Yelich-O’Connor – kicks off the European leg of her Ultrasound World Tour.

She is scheduled to appear in Paris, France, tonight as scheduled, before making her way over to the UK and Ireland.

The upsetting cancellation comes after Lorde made her triumphant return to music this year by dropping her fourth album, Virgin, back in July.

It was her first release since 2021’s critically acclaimed Solar Power.

Her new release, led by single What Was That?, was so highly anticipated that a surprise set at Glastonbury caused an entire area of Worthy Farm to be shut down as fans dashed to see her at the Woodsies tent.

The album later shot to the top of the album charts, with What Was That peaking at number 11.

She’s also since noted she doesn’t intend to take such a big break again from making music.

The star, who first shot to fame with smash hit Royals at the age of 16, told Variety: “I’m definitely feeling very active and not needing a break from being creative. I’m feeling kind of insatiable, to be honest.

“So I don’t know, but I’ve thrown the gauntlet down that it’s not going to be four years [again], so I’ve gotta keep to that.”

Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.

The retired reporter had always loved show tunes, but he’d never considered singing in public before.

“I sang for my own amusement, and I wasn’t very amused,” he said recently.

But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.

For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.

Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.

Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.

“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”

For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.

“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”

Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.

The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.

“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”

Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.

The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.

Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.

“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”

On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”

People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.

The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”

“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”

Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”

Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.

Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.

“I know that song very well and you did a great job,” he said.

Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”

Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.

There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.

He stumbled for a moment, a bit perplexed, before turning to his friends for help.

“Whoever knows the words, sing it with me,” Nobles said to the crowd.

Quietly at first and then louder and stronger, the whole room broke out into song.

We’re lost in a masquerade. Woohoo, the masquerade.