Daryl Hannah is no fan of FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette.” She made that abundantly clear in an op-ed for the New York Times that also criticized the series for what she claims is a misogynistic portrayal of her younger self.
“It’s appalling to me that I even have to defend myself against a television show,” Hannah, 65, wrote in the op-ed published Friday. “These are not creative embellishments of personality. They are assertions about conduct — and they are false.”
A representative for FX did not immediately respond to a request for comment Friday.
“Splash” and “Kill Bill” star Hannah, whose romance with Kennedy in the 1990s made for tabloid fodder before his marriage to Bessette, wrote that the Ryan Murphy-produced project depicted her as “irritating, self-absorbed, whiny and inappropriate.” She wrote that the show also depicted her as a cocaine-loving, selfish obstacle in the way of the series’ late lovers. Kennedy and Bessette Kennedy died in a plane crash in 1999.
These creative choices, she claimed, were “no accident.”
Hannah decried her story being used as a “narrative device” to drive tension in the series and as a result, the series fell into “textbook misogyny” by pitting two women — in this case, actor Dree Hemingway’s Daryl Hannah and Sarah Pidgeon’s Carolyn Bessette — against each other.
The actor, also a filmmaker and advocate for environmental and senior health causes, also distanced herself from the series’ “untrue” depictions of her life, behavior, actions and relationship with Kennedy.
“I have never desecrated any family heirloom or intruded upon anyone’s private memorial,” she wrote. “I have never planted any story in the press. I never compared Jacqueline Onassis’ death to a dog’s.”
“Love Story,” created by Connor Hines, premiered in February with Paul Anthony Kelly starring as Kennedy. Hannah wrote that since the show’s debut, she received many “hostile and even threatening” messages from viewers who believe the series’ depictions.
Before Hannah’s op-ed, Murphy received criticism from Jack Schlossberg, the grandson of John F. Kennedy and nephew of John F. Kennedy Jr. In an interview with “CBS News Sunday Morning,” the 33-year-old political commentator said Murphy “knows nothing” about his family and that the prolific TV creator is making a “ton of money on a grotesque display of someone else’s life.”
While she has often chosen not to address “outrageous lies, crappy stories and unflattering characterizations,” Hannah wrote her “silence should not be mistaken for agreement with lies.” She said she felt compelled to speak out against the series’ depiction of her because continuing her “good work,” including her philanthropic efforts, “requires an intact reputation.”
Hannah said she has respected the Kennedy family’s privacy and, like Schlossberg, condemned “self-serving sensationalists trading in gossip, innuendo and speculation.”
“In a digital era, entertainment often becomes collective memory,” she wrote. “Real names are not fictional tools. They belong to real lives.”
The Hollywood Pantages Theatre on Thursday announced its 2026-27 season, which contains a whopping seven L.A. premieres including “Maybe Happy Ending.” The hugely buzzy show about the complicated love between two humanoid helperbots was originally developed and staged in South Korea, and won six Tony Awards last year including musical, direction (Michael Arden), leading actor (Darren Criss) and book and original score (Will Aronson and Hue Park).
An early version of the show was first staged in Seoul in 2015, seven years before the rollout of ChatGPT and the ensuing AI doomsday alarm that platform sparked about the rise of hyper-intelligent robots. It will be interesting to watch “Maybe Happy Ending’s” lead robot characters, Claire and Oliver, contemplate their existence during a time when Elon Musk says his Optimus humanoid robots will be in widespread use by the end of next year.
Five shows will be staged at the Pantages before “Maybe Happy Ending,” starting with the season-opening L.A. premiere of “Water for Elephants.” Based on Sara Gruen’s 2006 novel, this musical about the dramatic life of a traveling circus performer during the Great Depression premiered on Broadway to mixed reviews in 2024 and closed after 300 performances.
Next up: The L.A. premiere of “The Outsiders,” based on S.E. Hinton’s iconic 1967 novel about the conflict between two gangs of disaffected youth. The show opened on Broadway in 2024 and was nominated for 11 Tony Awards — it ultimately won four including for musical and direction.
After that a new revival of the beloved rock opera “The Who’s Tommy” will take to the stage. Given the show’s 30-plus-year history of destroying audiences (in a good way) with its classic rock grooves, it’s sure to remain a steadfast crowd-pleaser.
Get your dancing shoes on for the L.A. premiere of “Buena Vista Social Club,” which was co-produced by John Leguizamo and opened on Broadway last year, garnering 11 Tony nominations and five wins, including a special Tony Award for the Buena Vista Social Club band. Based on the lives of musicians in Havana from the 1950s through the 1990s, and featuring plenty of infectious Latin music presented in Spanish, the show is set to launch its North American tour in Buffalo this fall before making its way to the Pantages.
The L.A. premiere of “Operation Mincemeat: A New Musical” is up next. The World War II-themed comedy about a British plan of deception premiered on Broadway last year and was nominated for four Tonys including musical.
Rounding out the L.A. premieres are a lavish production of “The Great Gatsby” and the season closer, “Death Becomes Her,” both of which are based on hot properties with plenty of audience recognition.
If you’re looking for a classic, fear not: “Hamilton” and “The Lion King” are returning next season to do what they do best: Thrill audiences and sell out shows.
I’m Arts editor Jessica Gelt contemplating a season pass. Here’s your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY From John Doe to Lonesome Rhodes: Anti-fascism From the Archive A double bill of “Arch of Triumph” (1948), a tragic romance set in 1938 Paris starring Ingrid Bergman, Charles Boyer and Charles Laughton, and “Voice in the Wind” (1944), a low-budget B-movie with Francis Lederer as a persecuted Czech concert pianist, opens this short series of films that were restored by the the UCLA Film & Television Archive. The series continues with Saturday’s pairing of “The Burning Cross” (1947) and “Open Secret” (1948) and “A Face in the Crowd” (1957) on March 20. 7:30 p.m. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
SATURDAY Nuun to Midnight A 37-film, 12-hour festival that merges music and visual arts serves as a fundraiser for curated arts presenter Middle Ear Project. Noon-midnight. Automata Theater, 504 Chung King Road, Chinatown. automatala.org
Sarah Davachi + Robert Takahashi Novak: New Commissions The Broad lobby’s unique characteristics will be utilized to create a deep listening experience for newly commissioned compositions by electroacoustic and minimalist organist Davachi and conceptual sound and contemporary electronic music artist Novak. 8 p.m. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
The Great Wall of Los Angeles Judy Baca’s iconic mural inspired Gustavo Dudamel and Gabriela Ortiz to gather composers Juhi Bansal, Nicolás Lell Benavides, Viet Cuong, Estevan Olmos, Xavier Muzik and Nina Shekhar for this salute to the city, augmented by a video installation created director Alejandro González Iñárritu and cinematographer Emmanuel “Chivo” Lubezki. 2 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Alexander Malofeev The young Russian pianist performs a program featuring works by Sibelius, Grieg, Rautavaara, Scriabin, Stravinsky, Arthur Lourié and Prokofiev. 7:30 p.m. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
The Opera Buffs Emerging musical artists from Southern California perform six mini-operas. 8 p.m. Saturday and Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Wild Up The orchestral collective Wild Up performs “The Odes,” a program highlighting experimentation across the ages, featuring works by French Baroque composer Jean-Féry Rebel, English dramatist Henry Purcell and Soviet modern polystylist Alfred Schnittke, as well as modern artists. The group will be joined by guest vocalist and composer Julia Holter, students from the Herb Alpert School of Music at CalArts and special guests. 8 p.m. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
TUESDAY Beetlejuice The Broadway musical based on Tim Burton’s 1988 horror-comedy makes a local stop on its national tour. Through March 22. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
Malice: Stories of Injustice The Odyssey, in partnering with Mar Vista Voice and West Los Respuesta Rapida, presents a program of monologues based on the true stories of families and communities impacted by ICE, with proceeds benefiting the two charities. 8 p.m. Tuesday (in English) and Wednesday (in Spanish). Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
The Rilke Project Piano Spheres presents pianist Vicki Ray performing works by Bernstein, Ives and Eötvös, as well as pieces from Los Angeles-based composers Steuart Liebig, Andrew Tholl, Joseph Pereira and David Rhodes, and the poetry of Rainer Maria Rilke. 8 p.m. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org
Six The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII. 7:30 p.m. Tuesday-March 13; 2 p.m. Saturday. Segerstrom Center for the Arts, 300 Town Center Drive, Costa Mesa. scfta.org
THURSDAY Turning Points Guest conductor Dinis Sousa leads the Los Angeles Chamber Orchestra in Huang Ruo’s “Tipping Point,” Schumann’s “Violin Concerto” with solo violinist Isabelle Faust, and Mendelssohn’s “Symphony No. 4,” a.k.a. the “Italian.” 7:30 p.m. Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills; 7:30 p.m. March 6. Colburn School, Zipper Hall, 220 S. Grand Ave., downtown L.A. laco.org
Arts anywhere
Kevin Kline and Laura Linney in the series “American Classic” on MGM+.
(David Giesbrecht/MGM+)
American Classic The limited series (eight 30-minute episodes) stars Kevin Kline as an out-of-control Broadway star who returns to his Pennsylvania hometown. Featuring a fine supporting cast that includes Laura Linney, Jon Tenney, Tony Shalhoub and Len Cariou, Times TV critic Robert Lloyd calls the show “a love letter to theater, community and community theater.” Streaming on MGM+ (free 7-day trial available).
KUSC Local classical music fans know very well the treasure we have in Classical KUSC, one of the few all-classical music stations left on the planet. And, indeed, people from all over the world listen online. But what if you’re just “classical curious” and don’t know where to start? With round-the-clock programming, multiple specialized streaming channels devoted to movie scores, seasonal sounds and more, plus live concerts and knowledgeable hosts, this is the place for enjoyment, enlightenment and education. And remember, it’s listener-supported! If you can afford to give, please do. Listen at 98.7 FM and stream at kusc.org
The jacket of the book “True Color” by Kory Stamper.
(Knopf)
True Color Kory Stamper chronicles the life of I. H. Godlove, an eccentric scientist who infused the midcentury Merriam-Webster dictionary with a shockingly kaleidoscopic array of colors using only words. The worlds of color science, color psychology and color production provide a vivid backdrop for a journey across the 20th century. Knopf (March 31 release): 320 pp. $32
Culture news and the SoCal scene
People gather outside for pre-show drinks before Public Assembly theater’s show at the Women’s Twentieth Century Club on Thursday, Jan. 29, 2026, in Los Angeles.
(Carlin Stiehl / For The Times)
The roving company Public Assembly Theatre, which develops three one-act plays monthly in unconventional L.A. spaces, got an up-close look via a fascinating story by freelancer Emma Madden. Madden spent the better part of a month tracking the development process, read-throughs and final show, and tells the story of a tiny company that is making major waves with a Hollywood-weary crowd.
Freelancer Solvej Schou tells the difficult but ultimately uplifting story of an Altadena shop owner who closed twice during the last year: Once because of the Eaton fire, and again because of heavy flooding the following year. In the wake of all the trauma, the owner, Adriana Molina, hired a local muralist to paint a colorful outdoor mural of Altadena as a way to boost morale in the neighborhood.
Dalia Stasevska, a Ukranian-born conductor who is making her L.A. Opera debut with Philip Glass’ “Akhnaten,” poses for a portrait at the Dorothy Chandler Pavilion.
(David Butow / For the Times)
The Ukrainian-born conductor Dalia Stasevska made her L.A. Opera debut last weekend, conducting Philip Glass’ opera “Akhnaten,” which runs through late March. Times freelancer Tim Greiving sat down with Stasevska to write an in-depth profile that delves into her early love of opera and classical music as well as her efforts to raise money for humanitarian aid in Ukraine.
Malia Mendez got the skinny on a Christie’s auction in New York that features the $1-billion guitar collection of the late businessman Jim Irsay. Items on the block included Kurt Cobain’s 1969 Fender Mustang and the Beatles drum head from the band’s legendary appearance on “The Ed Sullivan show.”
Artist Ulysses Jenkins is photographed at his studio in Inglewood on Tuesday, March 8, 2022.
(Christina House/Los Angeles Times)
Mendez also penned a lovely obituary for Ulysses Jenkins, a pioneer of Black experimental video who died last month at the age of 79.
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Chiura Obata, “Full Moon, Pasadena, California,” (1930) Verso, Asian American art
(The Huntington Library, Art Museum, and Botanical Gardens, Gift of the Obata Family)
The new theme for the fourth edition of the Getty’s PST ART has been announced. The 2030 survey will explore “the artistic and cultural exchange between Los Angeles and the Pacific Rim,” according to a news release. PST ART launched in 2011 and has since established itself as one of the region’s most timely and expansive art showcases — with participation from every corner of Southern California.
“PST ART is now an established and central part of Southern California’s cultural landscape, with each edition exploring key aspects of our past, present, and possible futures,” said Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, in a statement. “With our large diasporic communities from around the Pacific Rim, Los Angeles is the perfect place to explore the far-reaching and varied impact of transpacific culture.”
The saga of “A Court of Thorns and Roses” will continue.
Author Sarah J. Maas announced on Alex Cooper’s “Call Her Daddy” podcast Wednesday that two new books will be released in the hugely popular romantasy series, ending a five-year drought since the fifth installment, “A Court of Silver Flames.” The sixth book will be published on Oct. 27, 2026, and the seventh on Jan. 12, 2027.
“It took me a while to find the right story and to be in the right headspace. And then, like what poured out of me was this and it poured out very quickly,” the author told Cooper. “The story that was finally ready to come out of me was big. Really, really big.”
Maas first teased the sixth book on Instagram in July, with the caption “First drafts DONE” on a video that drew nearly a million likes.
Maas did not share details about the book titles, cover art or whose point of view the stories will follow, but did mention that the character’s perspective was “one of the surprising things” for her while writing.
On Instagram, Maas thanked her fans for their patience, passion and “never letting the world fade.”
“I know how long you’ve waited. I know how much these characters mean to you. And I also know these stories deserve more than speed and deadlines. They deserve my best self. They deserve the right moment,” Maas wrote. “I’m so honored by the way you guys have always embraced Prythian as your own. I truly hope it feels like coming home for you like it did for me.”
The first installment of the “A Court of Thorns and Roses” series was released in 2015, but the franchise gained popularity on BookTok — a TikTok subcommunity dedicated to literature — during the COVID-19 pandemic. The books follow Feyre Archeron in the faerie lands of Prythian and her love story with the High Lord of the Night Court, Rhysand.
Maas has sold more than 70 million English copies between her interconnected “Throne of Glass,” “A Court of Thorns and Roses” and “Crescent City” series, according to her website. Maas is a major player in the romantasy — a portmanteau of romance and fantasy — genre, which has soared in popularity on TikTok.
“This is going to sound silly, and you probably won’t believe me, but just talking about things like legacy is beyond for me,” Maas told Cooper. “I’m still very much that girl in middle school or high school sneaking off to watch anime or drool over Legolas and getting to go play in these worlds in my head and do the thing that makes me come alive every day, that’s incredible.”
As a child in Newark, N.J., Narciso Rodriguez was often transported back to Cuba by the stories from his family and their friends. He walked the halls of El Encanto, a Havana department store and fashion mecca on the island — one that drew in celebrity clientele and featured haute-couture designs and fragrances from the far-flung fashion capitals of Paris and Milan.
“I don’t know that they could have afforded any of those things when they were in Cuba,” he tells De Los. “But they certainly filled my imagination with beautiful stories and laid the foundation for my work.”
It was the women in his life — the “amazing, powerful, loud, colorful dynamos,” as he describes them — who inspired him to pursue a career in fashion.
“Their stories, their lives, their power, their curves, it all influenced me,” he says. “They’re the reason I wanted to create things.”
Over the last three decades, the renowned designer has earned a reputation for sleek, flattering lines and effortless shapes, most famously seen on the career-launching dress he designed for his friend Carolyn Bessette-Kennedy to wear on her wedding day. The bias-cut silk slip has remained a source of inspiration for generations of brides since, and has been making waves again thanks to the FX series “Love Story: John F. Kennedy Jr. and Carolyn Bessette.”
Omari K. Chancellor as Gordon Henderson, from left, Sarah Pidgeon as Carolyn Bessette, Tonatiuh as Narciso Rodriguez in FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette”
(Eric Liebowitz / FX)
“Love Story” will follow the couple’s wedding in the latest episode, out March 5. (Rodriguez is portrayed by Tonatiuh on the show.)
After designing Bessette-Kennedy’s dress, Rodriguez launched his own label and a fragrance line, and has continued to create designs that are woven into the fabric of American history — Michelle Obama wore his dress on election night in 2008.
De Los spoke with Rodriguez about his career, upbringing and memories of designing Bessette-Kennedy’s dress.
You’ve spoken about how inspired you were by the women in your life growing up. Are there any “fashion icons” from your family or neighborhood that you could point to from your childhood?
You know, I’m so lucky because I was raised in a very Cuban household in a very culturally rich community in Newark. I mean, it was Italian, Spanish, Cuban, Puerto Rican, Black. It was everything. But I always think back to when I was very, very young, there was a kind of matriarch here in the neighborhood. Her name was Concha and she was kind of this lightning rod. My dad’s sister was married to her son, so when my parents came to the U.S., she gave them a place to stay. She would teach all of the young women how to cook and gave everyone a place to stay until they got on their feet. She was larger than life, she was like “Auntie Mame.” She had these great ‘60s beehive wigs in amazing wig boxes, she made these beautiful Chanel suits for herself, and had all these gold bangles, great lipstick and stilettos. When she came into the room, she just radiated power, joy and style. I always think of her as being my first signpost on the road.
They were all beautiful, you know? My aunts and my mom were the most beautiful, glamorous women. None of them were wearing designer clothes, but they took great pride and great care in how they looked, and that really made an impression on me.
How did that impression translate into a concrete passion? How did you go about actually pursuing a career in fashion?
I loved architecture. I loved building things, so I was always drawing, sketching and sculpting. Then I would see my mom take a piece of fabric and the way she could take something flat and shapeless and turn it into a garment was fascinating. By the time I was 13, I was doing fashion illustration, and I got a job in a tailor shop. Later, I enrolled myself in Saturday courses at Parsons [School of Design], and I kind of had to hide it from my parents at first. I felt like I couldn’t be a fashion designer, you know, because of the whole “macho” idea, but I just kept going. I was lucky that I was someone who always knew what they wanted to do, and that Parsons recognized I had talent for it at a young age.
I was exposed to really great people there, too. Donna Karan was a critic, Calvin Klein was a critic, Oscar de la Renta too. I got to do projects with all of them, and then I was hired after school by Donna Karan while she was still at Anne Klein. It was an amazing experience, and then I got poached by Calvin Klein, which was a very different experience.
How so?
It was incredible, but just very different. Whereas Anne Klein was this melting pot of creativity, Calvin was much more image-driven and precision-driven. He brought in great talents to collaborate with, so on any given day, you’d be working with the most amazing photographers, stylists and art directors. It was a really great finishing school as a young person.
You arrived at Calvin Klein during a period of reinvention for the brand. This was in the era of Kate Moss, and the famous “Marky Mark” print ads. We see a version of it in “Love Story,” but what was it like to actually be there?
When I got there, I think around 1989, it hadn’t really started to change yet. And I thought, “Wow, I made a really big mistake. This is not my aesthetic, not my thing.” But it changed very quickly, and it was very exciting. [Calvin] worked very hard. He was very focused, and he appreciated that I could keep up. Like everybody, there was a rough initiation period, but afterward, he gave me the opportunity to work on some tailored pieces that sold really well at retail, so I was rewarded with more opportunities.
But it was the ‘90s, and it was New York, and it was brilliant. It felt like the whole city was reinventing itself, and Calvin was a leader in that. All the best photographers, the most brilliant artists were there. Jacky Marshall, Zack Carr, Carolyn — the talent was endless. I was really fortunate to experience it and build friendships that were lifelong.
I’m curious if you remember your first impressions of Carolyn. How did you two connect?
We were quite friendly immediately, and then we became the best of friends. We lived in the same building, so the rest was history. You know, she’s an incredible person, and she had great style. She was bigger than life.
Carolyn has been regarded as a fashion icon, and especially now, everyone is trying to re–create her look. There was something more subtle and interesting going on than just “minimalist” fashion, so how would you describe what made her style so special?
Carolyn was so authentic in so many ways, and I think that she was very pragmatic about her choices. She had a great eye. She knew what worked for her, and she knew how to present herself. She never wanted to be uncomfortable. She was very connected to herself. I think so many people have this relationship to fashion and what they think they should look like based on the ideas they see in a magazine or being sold to you by the industry, and Carolyn never fell into that trap.
I have this conversation often with young designers, with people, with journalists. Today, everything that we see is inauthentic. Celebrities are paid to wear designer clothes. They’re styled by a stylist, and nothing is innate. That is the opposite of Carolyn. She was 100% real.
Narciso Rodriguez in 1997.
(Paolo Roversi)
We have to talk about her wedding dress. If you’re a bride, it’s impossible to look for inspiration without coming across her dress. What was it like to have a friend ask you to create something for such a special, important moment?
You know, until my children were born, Carolyn was the love of my life. We were very close, and she asked me, as you said, to make the dress that she would marry the love of her life in. It was very personal for me. It wasn’t a press event, it was a conversation between two people who were very close. I knew what looked good on her, she knew what looked good on her. I knew that she would never want to be bogged down with trains and lace. It wouldn’t be her.
What was the actual design process like?
It was an effortless collaboration. She came to fittings in Paris, we pulled the neckline down a bit lower, and the dress was born. I added the gloves, the veil and the shoe. It was just magical, and exactly the way it should be. It really made her the focus. You know, she was the one who pointed that out to me about my work. She always said, “You create a frame for a woman’s beauty and personality to shine through.” I’ve always thought that was a really beautiful thing that she gave me, because it’s true. I never want my work to be what you see first. I think the success of that dress is that you see her and her happiness and the purity of it all.
Everything about the wedding, including the dress, had to be kept a secret. Was it a challenge to make sure that no one knew what you were working on?
I was working in Paris, and I got approval from the owner of [Cerruti]. He was discreet about it. I worked with one pattern maker. I had a fit model who was lovely. Nobody knew who it was for. They always asked. But because I was working in Paris, they didn’t really connect me to her. I was also quite cautious when the dress was in work, I remember I had become quite friendly with Azzedine Alaïa. I asked, “Can I take this dress over to you and have you check it out to see what I’m doing?” I went over and he looked at the prototype, and said, “Why don’t you move this seam over the bum by a centimeter. I think it’ll be more flattering.” And I did, because he was the master, and he tortured me to know who it was for, but I never told him. Later, when it was all over the press, he would call and pretend he was a fancy lady looking for a wedding dress for her daughter. [Laughs] He tricked me a few times into believing some of his gags, but he was an amazing person.
It was just a magical time in all of our lives. And then I flew to America with the dress and went to the wedding, and it was that simple. You know, I’ve heard all these amazing stories about how the dress didn’t fit, and I had to sew her into it, and that she was hours late because of it, and none of this is true. But I love that people have made up all these stories.
Maybe the dress on her seems so effortless that people want to invent a way to complicate it.
[Laughs] I really have heard so many crazy stories, but when you look at the pictures, it certainly doesn’t look like it didn’t fit. That’s for sure.
As you mentioned, the dress was all over the press later. How did that moment impact your career?
Well, I went from Paris to my best friend’s wedding, and then I flew home to New York to do a pit stop at my apartment. When I arrived, there was a huge crowd outside the building with news trucks. I kind of walked through the crowd and into the building, and I said to the doorman, “What’s all that about?” And he looked at me, and he said, “They’re here to see you.”
Oh, wow.
It was a very big, kind of scary, unexpected change in my life. I remember going up to my apartment and trying to navigate that when Anna Wintour’s office called and said, “Anna would like for you to come to the Princess [Diana] benefit in Washington.” And I said I couldn’t go, I needed to be back in Paris, I didn’t even have a white shirt. And they said, “It’s Princess Di and Anna Wintour. You’re going. We’ll send you a shirt.” So I went, and I met Princess Diana, and it was really strange to be at such a big event and have so many eyes on me, because I didn’t expect that, and everyone was curious. I remember they were shady journalists trying to sit next to me and get information about where [John and Carolyn] went on their honeymoon. Life changed dramatically, but it brought great attention to the work that I was doing in Paris, and I was able to then go off and start my own business and do my own thing.
I’m sure you had an understanding through Carolyn about what it felt like to be hounded or followed by photographers and press, but did that firsthand experience in New York give you another layer of understanding for what she was going through?
It’s so funny because society today will do anything for that. But it was a very different time, and she was a very private person. I was a very private person. It’s very invasive, and I was kind of stuck in the middle, because while I needed to promote my work and my shows, and sort of be in the press, it wasn’t something that I was very comfortable with. I mean, I love doing the work more than I like the things attached to it. It can be debilitating, and it was difficult for me, but I adjusted, because I could hide behind my work, but as a private citizen, it was more difficult for her.
Narciso Rodriguez.
(Sølve Sundsbø)
You’ve been a part of fashion history on numerous occasions. Michelle Obama frequently wore your designs, but most famously, on election night in 2008, and then during her final appearance as first lady. How does it feel to have been a part of those moments?
It’s hard to put into words. You know, you spend so much time in it, and you have these amazing moments, like designing a dress that became legendary for brides, or getting to dress the first lady, and it wasn’t until COVID that I took a step back. I think about my mother and father coming here to give their son a chance to live out his dreams. And to have been able to sit with my friends on election night and watch her appear in my dress on such a historic moment — the first African American elected president of the United States — words fail. [Michelle Obama] is such an incredible human being who I admire so much, and to have been a part of that night, I feel so lucky.
I don’t talk about my work with my children, but the other day, when they were on the bus headed to school, they told one of their friends, “My dad went to the Obama White House.” They were proud of me. My parents’ dreams came true, and now I get to share that with my children. It’s very special.
It’s really powerful to hear you frame it that way — that these moments mean so much because of your experience being the child of immigrants. How does it feel to be in the midst of a revival right now?
It makes me want to create more. It means a lot to me that people remember these pieces, and that they’re still part of the conversation. But it also means a really great deal to me because I think it’s an important story to tell today. I think it’s important that young people hear that this kind of thing can happen to the children of immigrants, especially as I’m watching all of the horrible things happening to immigrants now.
I could never do what my parents did. When I think about it now, my parents were so much more successful than I could ever be, because they left behind their home for a cold climate, in a place where they couldn’t speak the language, and they really struggled for a long time before I was born. And now, the idea that we’re trying to take that opportunity away from people? It just blows my mind.
My parents faced so many hardships, their life wasn’t easy, but I can’t imagine if they had been put through what immigrants are put through today. I am the “American Dream,” right? I got the chance I got to do the work that I love and succeed because of them. I want that for everyone. I want that to be the world we live in.
Here’s the story…of how a seemingly non-descript home in the San Fernando Valley turned into an L.A. landmark.
The L.A. City Council voted to designate the “Brady Bunch” house as a historic-cultural monument on Wednesday, enshrining the Studio City Midcentury as a piece of the city’s history.
“Long before it became a pop‑culture pilgrimage site and backdrop for countless photo ops, the Brady Bunch House helped shape America’s vision of family life in the late 1960s and early ’70s — especially the idea of a blended family,” said Adrian Scott Fine, president of the L.A. Conservancy. “We’re thrilled to see it now designated as a Historic-Cultural Monument, ensuring the Brady Bunch — and their iconic home — remain part of Los Angeles’ story.”
The Los Angeles Cultural Heritage Commission unanimously voted to recommend the house, located at 11222 Dilling St. in Studio City, as a landmark on Jan. 15. The Planning and Land Use Commission approved the designation a month later, sending final say to the City Council.
“I look forward to seeing this memorialized in the appropriate way as part of San Fernando Valley television history,” Councilmember Adin Nazarian said during the Planning meeting.
The landmark status protects the home from demolition, but doesn’t prohibit it. If the owner ever wants to destroy the home, the Cultural Heritage Commission can delay the process for up to a year to find preservation solutions. The commission also gets more oversight on proposed alterations.
“The Brady Bunch” was filmed in a studio for the entirety of its iconic run from 1969 to 1974. So how does a house that was merely for exterior shots wind up as a landmark?
Through painstaking renovations and a bit of reality TV magic.
The house was built in 1959 by architect Harry M. Londelius, who gave the contemporary ranch a shake roof, cathedral ceilings and heaps of Palos Verdes stone. After starring in the show, the home became a symbol for Southern California’s suburban, single-family charm.
For decades, it was owned by Violet and George McCallister, who bought it for $61,000 in 1973. Once they died, their children sold it in 2018 for $3.5 million — nearly twice the original ask.
The bloated sale price was the result of a bidding war, as offers poured in from TV enthusiasts and celebrities, including ‘N Sync’s Lance Bass. In the end, cable network HGTV emerged as the winner.
The channel had big plans for the property, announcing a $1.9-million remodel that would recreate the interiors exactly how they looked in the show. The entire process was documented in a four-part miniseries titled “A Very Brady Renovation.”
The show featured the actors who played the Brady kids taking sledgehammers to the interiors while “Property Brothers” stars Drew and Jonathan Scott reshaped the living spaces.
An inside look at the “Brady Bunch” house in Studio City.
(Ryan Lahiff for Eklund | Gomes)
The final result was a near picture-perfect replica of the Brady abode: the floating staircase, the groovy orange kitchen counters, even the famous vase destroyed by a stray basketball during a famous episode. (“She always says don’t play ball in the house.”) To make space for the throwback bedrooms, the crew added 2,000 square feet to the rear of the house, as well as a second story — which they hid from the street by lowering the foundation by a foot.
The renovation nearly doubled the square footage, featuring five bedrooms and five bathrooms across more than 5,000 square feet.
After the miniseries, HGTV took a bath on the sale. They flipped it for $3.2 million in 2023 — $300,000 less than they paid for it five years earlier and $2 million less than the asking price.
The house was bought by historic-home enthusiast Tina Trahan and her husband Chris Elbrecht, former chief executive of HBO. It came with a few Brady-themed furniture throw-ins such as a green floral couch and credenza complete with a 3-D printed horse sculpture.
Fans still flock to the house to take photos from the street, but Trahan and Elbrecht opened it to the public for the first time in November, offering a limited run of tours for $275.
For example, in London, children aged between two and 15 that are dressed as a book character get a free 30-minute ride on the London Eye, from March 7 to 10.
And over at Battersea Power Station, there is A Station of Stories festival, which will be a year-long celebration.
As part of the event, this World Book Day weekend there will be a number of events.
Visitors can step into the world of Mr Men Little Miss through interactive activities including a treasure hunt, for example.
There will also be other free creative workshops across the weekend and the chance for kids to meet their favourite book characters.
If you are based in or near Manchester, then you can head off on the Manchester Literature Trail which explores multiple venues across the city and informs participants of Manchester’s literary history.
A map for the trail can be downloaded online.
St. Patrick’s Day, various
St Patrick’s Day falls on March 17 this year and across the week there will be events all over the country.
For example, you could head to the parade in Digbeth, where there will be floats, marching bands and of course, a lot of green.
The parade is taking place on March 15 on Digbeth High Street.
St Patrick’s Day parades will be happening up and down the country around the middle of the monthCredit: Alamy
One of the world’s largest celebrations outside of Ireland will take place in London with a parade starting from Hyde Park Corner at 12pm on March 15.
There will be a free event at Trafalgar Square too, with live Irish music, dancing and food stalls.
In Manchester Irish Festival Parade, which is the biggest outside of London, there will be 30 floats and marching bands, and it will take place on March 15.
Earth Hour, London
For something a little different, head into central London on March 28.
For one hour, in the evening, London will switch off its lights for the World Wildlife Fund’s Earth Hour to raise awareness about the impacts of global warming.
Households can take part too, but it might be your only chance for a year to see the famous sights of London go dark.
Southend City Day celebrates the destination getting a city status in 2022Credit: Alamy
Southend City Day
Southend City Day takes place on March 7 and celebrates Southend getting city status in 2022.
The event will involve a number of performances, workshops and family-friendly activities such as face painting and pig races…
For example, there will be a stage at the top of the high street which will host performances by local dancers and youth music groups.
Fancy seeing something sparkle? In the evening make sure to catch Disco City’s light installations that will stretch across Royal Square and Pier Piazza.
For classic car fans, make your way to City Beach where there will be a lineup of parked classic cars over 25 years old between 11am and 4:30pm.
River Race, London
On March 28, you can head down to the Thames to watch the River Race.
Now this isn’t the Oxford versus Cambridge race (that happens in April), but during this River Race you will see up to 400 teams of eight racing down the river.
The Six Nations is still on and honestly, is there a better excuse to go to the pub?Credit: Alamy
Six Nations, various
The rugby isn’t quite over yet which means you still have time to catch a game with your friends.
Lots of pubs up and down the country show the matches on their TVs, or you could head somewhere like The Old Crown in Digbeth, which has large outdoor screens, a heated garden and live DJs.
If you are in the capital, make your way to Walthamstow’s Big Penny Social – which is supposedly the biggest beer hall in the UK spanning across 2,415sqm.
Entry is free, though you will need to pay for a tipple if you want one from one of the 20 taps of beer on offer…
For something a little more unusual, head to Battersea Barge, where each match is being shown on the lower deck via a large projector.
It is free to attend, though if you do pre-purchase a £1 ticket you can grab a free pint of Camden Hells on arrival.
A number of venues show the matches on large screensCredit: Alamy
National Lottery Open Week, various
Between March 7 and 15 – so spanning both this weekend and next – hundreds of attractions that you usually have to pay entrance to across the UK, are opening for free or less than the usual admission fee.
If you are based down in Cornwall, or perhaps visiting for Mother’s Day weekend, then head to the Eden Project which is slashing its entrance fee.
Or perhaps you’re a history fan? Well, then venture to one of the many English Heritage properties across the UK scrapping entrance fees for the week.
Examples of properties include Audley End House and Gardens and Eltham Palace.
Head to the National Lottery Open Week’s website and enter your postcode to see attractions and destinations near you.
Between March 7 and 15, it is also National Lottery Open Week meaning you can get into a lot of attractions across the country for freeCredit: Alamy
St Piran’s Day Lantern Parade, Cornwall
Have you ever wanted to experience a moment like that scene in Tangled where they are on the lake watching hundreds of lanterns venture into the sky?
Then get down to Helston’s St Piran’s Day Lantern Parade on March 7.
The event begins at 5:30pm with live music at Helston Boating Lake and Coronation Park and then the lantern parade will begin at 6:30pm.
Members of the public including school groups show off their handcrafted lanterns, alongside installations by City of Lights.
In Cornwall, there will be a lantern parade with family activities this monthCredit: Gorsedh Kernow
On The Line: 100 Years of Solidarity and Strikes, Manchester
Launching this month at the People’s History Museum in Manchester is a new exhibition which takes visitors on a journey through a century of industrial relations.
The exhibition begins with the 1926 General Strike and then addresses key moments throughout the past century of communities facing poor working conditions.
It also delves into the impact strike action has on society and will start on March 21.
The House of Pies, a Los Feliz institution, is bustling on a chilly January morning.
It wouldn’t be shocking if some of the patrons here for breakfast were casually chit-chatting about the cultural behemoth that “KPop Demon Hunters” has become. After all, the 2025 animated saga about three music stars fighting otherworldly foes is now the most-watched movie ever on Netflix; “Golden,” its showstopping track, has since become the first Korean pop song to ever win a Grammy.
But for Danya Jimenez, 29, who sits across from me sipping coffee, the reception to the movie she began writing on back in 2020 isn’t entirely surprising, but certainly delayed.
“When we first started working on it, I was like, ‘People are going to be obsessed with this. It’s going to be the best thing ever,’” she recalls. But as several years passed, and she and her writing partner and best friend Hannah McMechan, 30, moved on to other projects. They weren’t sure if “KPop” would ever see the light of day. Production for animation takes time.
It wasn’t until she learned that her Mexican parents were organically aware of the movie that Jimenez considered it could actually live up to the potential she initially had hoped for.
“Without me saying anything, my parents were like, ‘People are talking about this’ — like my dad’s co-workers or my aunt’s friends — that’s when I started to realize, ‘This might be something big,’” she says.
“But never in my life did I think it would be at this scale.”
“KPop Demon Hunters” is now nominated for two Academy Awards: animated feature and original song. And that’s on top of how ubiquitous the characters — Rumi, Mira and Zoey — already are.
“Everyone sends me photos of knockoff ‘KPop Demon Hunters’ dolls from across the border,” Jimenez says laughing. “My friend got me a shirt from Mexicali with the three girls, but they do not look anything like themselves. She even got my name on it, which was awesome.”
After graduating from Loyola Marymount University in 2018, Jimenez and McMechan quickly found their footing in the industry, as well as representation. But it was their still unproduced screenplay, “Luna Likes,” about a Mexican American teenage girl obsessed with the late chef and author Anthony Bourdain, that tangentially put them on the “KPop” path.
“Luna Likes” earned the pair a spot at the prestigious Sundance Screenwriters Lab, where Nicole Perlman, who co-wrote “Guardians of the Galaxy,” served as one of their advisors. Perlman, credited as a production consultant on “KPop,” thought they would be a good fit.
Jimenez didn’t see the connection between her R-rated comedy about a moody Mexican American teen and a PG animated feature set in the world of K-pop music, but the duo still pitched. Their idea more closely resembled an indie dramedy than an epic action flick.
“If [our version of ‘KPop’] were live-action, it would’ve been a million-dollar budget. It was the smallest movie ever. Our big finale was a pool party,” Jimenez says. “We had all of the girls and the boys with instruments, which obviously is not a thing in K-pop, and everyone was making out.”
Even though their original pitch wouldn’t work for the film, Maggie Kang, the co-director and also a co-writer, believed their voices as two young women who were best friends, roommates and creative collaborators could help the movie’s heroines feel more authentic.
“Maggie had already interviewed all of the more established writers, especially older men,” Jimenez says. “She knows the culture. She knew K-pop, she’s an animator. She just needed the girls’ voices to come through, so I think that’s why we got hired.”
Kang confirms this via email: “It’s always great to collaborate with writers who are the actual age of your characters! Hannah and Danya were exactly that,” she says. “They were very helpful in bringing a fresh, young voice to HUNTR/X.”
Neither Jimenez nor McMechan were K-pop fans at the time. As part of their research, they both started watching K-pop videos, but it was McMechan who got “sucked into the K-hole” first. Still, it didn’t take long until the video for BTS’ “Life Goes On” entranced Jimenez.
“K-pop is a river that you fall into, and it just takes you,” Jimenez says. BTS and Got7 are her favorite groups. For McMechan, the ensemble that captivates her most is Stray Kids.
In writing the trio of demon hunters, the co-writers modeled them after themselves. The characters’ propensity for ugly faces, silliness and a bit of grossness too, stems from the portrayals of girlhood and young womanhood that appeal to them. Jimenez, who says she was an angsty teen, most closely identifies with the rebellious Mira.
“I have a monotone vibe,” says Jimenez. “People always think that I’m a bitch just because I have a resting bitch face,” she says. “But as you can see in the movie, Mira cares so much about having everyone be really close. I feel like that’s how I’m with all my friends.”
Characters with strong personalities that are not simplistically likable feel the truest to Jimenez. In “Luna Likes,” the prickly protagonist is directly inspired by her experiences growing up, as well as the bond she shared with her dad over Bourdain’s “Parts Unknown” show.
“There’s a pressure to show that Mexicans are nice people and we’re hard workers. I was like, ‘Let’s make her kind of bitchy and very flawed,’” Jimenez says about Luna. “She’s a teenager in America and she should be given all the same opportunities — and also the forgiveness for being an ass— and [as] selfish at that age as anybody else.”
Hannah McMechan, left, and Danya Jimenez, co-writers of “KPop Demon Hunters,” met in college.
(Carlin Stiehl / For The Times)
Though their upbringings were markedly different, it was their shared comedic sensibilities that connected Jimenez and McMechan when they met in college. The two were close long before deciding to pen stories together. “Having a writing partner is the best. I feel bad for people who don’t have a writing partner, no offense to them,” says Jimenez.
McMechan explains that their writing partnership works because it’s grounded on true friendship. And she believes they would not have gotten this far without each other. While McMechan’s strong suit is looking at the bigger picture, Jimenez finds humor in the details.
“Danya is definitely funnier than me,” says McMechan. “It’s really hard to write comedy in dialogue versus comedy in a situation because if you’re putting the comedy in the dialogue, it can sound so forced and cringey. But she’s really good at making it sound natural but still really funny.”
Though she had been writing stories for herself as a teen, Jimenez didn’t consider it a career path until as a high schooler she watched the romantic comedy “No Strings Attached,” in which Ashton Kutcher plays a production assistant for a TV series.
“He is having a horrible time. But I was so obsessed with movies and TV, and I was like, ‘That looks incredible. I want to be doing what he’s doing,’” she recalls. “And my dad was like, ‘That’s a job.’”
Danya Jimenez grew up in Orange County.
(Carlin Stiehl / For The Times)
As an infant, Jimenez spent some time living in Tijuana, where her parents are from, until the family settled back in San Diego, where she was born. And when she was around 5 years old, Jimenez, an only child, and her parents relocated to Orange County. Until then, Jimenez mostly spoke Spanish, which made for a tricky transition when starting school.
“I knew English, but it just wasn’t a habit,” she recalls. “I would raise my hand and accidentally speak Spanish in class. My teachers would be like, ‘We’re worried about her vocabulary.’ That was always an issue, so it’s really funny that I turned out to be a writer.”
As she points out in her professional bio, it was movies and TV that helped with her English vocabulary, especially the Disney sitcom “Lizzie McGuire.”
Jimenez describes growing up in Orange County with few Latinos around outside of her family as an alienating experience. She admits to feeling great shame for some of her behaviors as a teenager afraid of being treated differently and desperate to fit in.
“I would speak Spanish to my mom like in a corner because I didn’t want everyone else to hear me speak Spanish,” Jimenez confesses. “If my mom pulled up to school to drop me off playing Spanish hits from the ‘80s or banda, I was like, ‘Can you turn it down please?’”
Like a lot of young Latinos, she’s now taking steps to connect with her heritage, and, in a way, atone for those moments where she let what others might think rob her of her pride.
“During the pandemic I cornered my grandma to make all of her recipes again so I could write them down,” she recalls. “Now I have them all written down on a website. Or if my mom corrects me for something that I’m saying in Spanish, I now listen.”
At the risk of angering her, Jimenez describes her mother as a “cool mom,” and compares her to Amy Poehler’s character in “Mean Girls.” Raised in a household without financial struggles, Jimenez doesn’t often relate to stories about Latinos in the U.S. that make it to film and TV. Her hope is to expand Latino storytelling beyond the tropes.
“That’s very important to me, to just tell Latino stories or Mexican stories in a way that’s just authentic to me and hopefully someone else is like, ‘Yes, that’s me,’” she says. “A lot of people have certain expectations for Latino stories that I’m not willing to compromise on.”
Though they still would like to make “Luna Likes” if given the chance, for now, Jimenez and McMechan will continue their rapid ascent.
They’re “goin’ up, up, up” because it is their “moment.” They recently wrapped the Apple TV show “Brothers” starring Matthew McConaughey and Woody Harrelson that filmed in Texas. They are also writing the feature “Attack of the Fifty Foot Woman” for Tim Burton to direct, with Margot Robbie in talks to star.
“I feel like I’ve just been operating in a state of shock for the past, I don’t know how many months since June,” says Jimenez in her signature deadpan affect. “But if I think about it too much, I’d be a nervous wreck.”
Molineux has seen as many Premier League wins in the past five days as it had in the previous 10 months. But through its history, it can’t have seen many more dramatic than this.
Make no mistake, Wolves were well worth the three points here. At 1-1, they pushed for a winner and got their reward, albeit with a slice of luck with the deflection off Joe Gomez.
“This is Liverpool Football Club – never mind this position you’re in, any time you beat them, you’ve got to enjoy the moment,” said Edwards.
“They’re an amazing football club with an amazing manager and loads of great players. So it was a big, big night for us.”
The Wolves head coach joked afterwards that he had injured himself when sprinting down the touchline after his team’s late winner.
“What we’re trying to do is improve,” he added. “We’re trying to build some momentum. We know the position we’re in. I know I’ve lost myself in that moment there. People might think we’re bottom of the league but you saw the energy around this place. You have to enjoy it. We’re trying to turn things around.
“There is a belief that we are going in the right direction. Whatever happens until the end of that 38th game, we’ll just keep fighting.”
With victories against Aston Villa and Liverpool in their past two Premier League games, Wolves are the first bottom-placed side to beat two teams in the top five in a single season since West Brom in 2017-18, and the first to ever do so in consecutive matches.
While Liverpool are fighting for Champions League football, Wolves are fighting against the impossible and sit 11 points from safety with eight games remaining.
This result, in all likelihood, will ultimately have no impact on their future in the Premier League, but Rodrigo Gomes, the scorer of their first goal on Tuesday, is keeping the faith.
“We know we are in a tough position,” he told BBC Sport. “It’s very difficult but we need to keep believing. If it is possible, we need to keep believing.
“Now we need to work, game by game and not think ‘if we win this game or this game, we avoid relegation’. Game by game, working like this every week then maybe – we will see.”
As one Wolves fan told BBC Sport on his way out of Molineux: “It’s crazy how we are where we are in the table.”
For a side and fanbase who have endured plenty this season, this was a night they will not forget in a hurry.
And they get the opportunity to try to do it all again when Liverpool return on Friday in the FA Cup.
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Gina Gershon considers herself a storyteller, first and foremost. When we connect via video call, Gershon admits this is the first interview she’s done since submitting the manuscript for her latest book, “AlphaPussy: How I Survived the Valley and Learned to Love My Boobs.”
“I don’t have my spiel yet!” she warns, inquiring for the first of a few times what I thought of it and whether I enjoyed it. Despite the many decades Gershon has been treading the boards, starring in indie films and Hollywood star vehicles, and stalking the stage as a singer-guitarist, she still really cares about what you think, even if it won’t change her own mind. Perhaps that’s the key to her professional longevity.
“AlphaPussy” is neither a memoir nor a guide to self-betterment, but elements of both feed into Gershon’s stories. Each wittily titled chapter plunges readers into Gershon’s freewheeling 1970s childhood, defiant adolescence, burgeoning performance career and collaborations with some of the biggest names in film (including Sharon Stone, Paul Verhoeven and Tom Cruise). Most of the stories take place in the San Fernando Valley, where young Gershon was discovering weed, mushrooms and rock ‘n’ roll. This is not a titillating tell-all, and all the better for it.
“AlphaPussy” by Gina Gershon
(Akashic Books)
“This book realistically started during COVID,” Gershon explains from her New York home. “I’d told my book agent, a friend, some stories one day when we were drunk, and he kept prodding me to write a book. I was hesitant, though. I’m not a tell-all gal, that’s not my MO.”
She adds, “It was during lockdowns, and I think his mother was sick and he was having a hard time, so when he said, ‘Just write me stories to keep me cheered up,’ I started to write stories in no particular order, whatever bubbled up, because otherwise I figured I’d forget them one day.”
At the same time, Gershon had observed that young women weren’t feeling empowered to advocate for themselves in their personal relationships and workplaces.
“I noticed that especially with younger women friends of mine, they’d tell me about things they were going through on set or with their bosses, and I don’t know if it’s a millennial thing, but I said, ‘Why don’t you just look him in the eye and tell him to stop?’ and there was this sense [for me] of ‘Why can’t you do that? Because if you don’t, you’ll always be prey to these guys.’ ”
She clarifies that she means “annoying” men rather than abusive men.
“I’m not that tough,” admits Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”
In her new book, Gina Gershon recalls the industry vitriol toward her 1995 erotic film “Showgirls.”
(Evelyn Freja / For The Times)
And also to steer herself through well-intended advice, both personal and professional, to follow her instincts.
“Listen, it’s not like I’ve had the most normal career. I’ve done most of my projects despite warnings from other people and from my agents saying, ‘You can’t do this, you’ll ruin your career.’ I’m like, ‘Why? I like this project!’ ”
One of those projects, most infamously, was “Showgirls,” which gets plenty of mentions in the book.
As Gershon recalled, it was 1994, and an astrologer had predicted her major breakout role would arrive in October that year, testing the young actor and her ability to cope with notoriety. Great, thought Gershon, bring it on.
Months later, Gershon was hanging from the ceiling, dressed in bondage gear, reflecting upon her early acting goals to perform Chekhov, portray Medea and stun audiences into silence.
She was on the set of “Showgirls” (or “Survival of the Titties,” as she nicknames it), dressed in one of the many glittering, spangled, flimsy outfits that her character Cristal Connors parades about wearing as a veteran of Vegas striptease. That role, and the vitriol from within the industry toward the movie (a flop turned cult favorite), still stings.
“I was super excited going into ‘Showgirls.’ As I talk about in one of the chapters, it was just very different when I got there. It was a completely different show than I thought I was going to be doing. … I thought it was gonna be one of [director Paul Verhoeven’s] dark Dutch films.”
Realizing that it was something else, to say the least, Gershon pivoted.
“I learned how to deal with an insane environment while keeping focused on what it is that I was trying to achieve with the part, without getting swallowed up by the insanity, which is a valuable lesson, you know? I mean, it’s a good lesson to learn no matter what you’re doing.”
Last year, Gershon watched the movie for the first time in decades.
“I hadn’t seen it in a zillion years, and when I saw it, I understood it a little bit more. It made me feel tense, but I also thought, ‘Oh, interesting.’ Some scenes that I thought shouldn’t have been there and others that absolutely have to be there. I saw it with a different lens.”
She says, “Weirdly, I feel like I’m not supposed to be talking about ‘Showgirls,’ although I think I have five chapters about ‘Showgirls’ [in the book]. I did the ones that I thought were kind of funny and fun and had some sort of growth in it for me.”
Having recently wrapped filming on “an independent film, a trans love story” in Palm Springs, penned a script and midway through writing another, Gershon doesn’t intend on writing another book anytime soon. Still, “there’s so many stories I left out,” she concedes.
“I could write three more books with things, but I really wanted to stay on point with the themes of manipulation, survival, and moving around and being able to stand on your own two feet and know who you are and to have agency over your life, especially as a woman, especially as an actress, especially in this world.”
“I’m not that tough,” says Gina Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”
March 2 (UPI) — The royal editor for The Daily Mail on Monday denied using a private investigator to steal information about Prince Harry and his former girlfriend Chelsy Davy.
Prince Harry is suing Associated Newspapers Ltd., which owns The Daily Mail, along with six other plaintiffs including Elton John and Elizabeth Hurley, for using information they obtained illegally.
ANL denies all wrongdoing and said it gathered all information for its stories legally.
The testimony Monday mostly hinged on Mike Behr, a South Africa-based private investigator. Rebecca English, royal editor, said she knew Behr only as “a freelance journalist who could help on Africa stories,” The Guardian reported.
Lawyers asked English about an email from Behr that shared the exact flights that Davy was taking on a vacation with Harry in 2007.
Behr asked in the email if English and the Sun reporter “can plant someone next to her?”
Plaintiffs’ lawyer David Sherborne said the email “could only have been obtained from the computer system” of an airline. That means it came from a “blag” — British slang for a way of obtaining information illegally.
English responded that she didn’t remember the email or ask for those flight details.
“[Behr] was never asked for anything like this, ever,” she said. “That is something I would never even consider doing, now or then,” The Guardian reported.
Sherborne asked about planting someone next to Davy, and English replied: “It’s an absolutely shameful suggestion both by him and by you … clearly there’s no reply to this email, which emphasizes my belief that I never actually saw it.”
He then accused her of using illegal information in a story about a “make-or-break holiday” for the couple. But English said the information was likely from students at the University of Leeds, where Davy was enrolled, “who were friends with Chelsy Davy and part of her circle.”
Sherborne also asked English about a story with the headline, “How Harry fell in love,” from 2004. The story alleged that Harry had shared details of his relationship with Davy with friends at a campfire in Botswana. English said the campfire info came from her coworker Sam Greenhill.
“Sam told me that one of the people that Prince Harry had spoken with ’round the campfire got in touch with the newspaper when news of the relationship broke and gave this information to us,” The Independent reported.
“Prince Harry hadn’t told them who his girlfriend was but had described her so that, when the stories about Chelsy Davy broke, they realized the significance of what they had been told.
“I thought at the time that the tip was from a contact of Sam’s, but now understand it just came in to the news desk. I think that Sam gave it to me because he knew that I was new to my job as a royal reporter and thought it might be helpful to me.”
Harry testified last month that the people at the campfire — his “closest friends” — would not have shared that information, and if they had, there “would be a lot more out there.”
The new Yellowstone spin-off Marshals features a stellar cast of recognisable faces, so where might fans already know them from?
Full cast of Marshals: A Yellowstone Story(Image: CBS)
Marshals: A Yellowstone Story has just begun, with Kayce Dutton (played by Luke Grimes) returning to screens in an exhilarating series premiere.
The new spin-off began on CBS last Sunday night (1st March) in the US, with new episodes also dropping each Monday on Paramount+ across the globe.
Picking up from the fifth and final season of the flagship Western drama created by Taylor Sheridan, the series follows Kayce Dutton (played by Luke Grimes) as he joins a team of US Marshals who fight violent crime across Montana.
With countless Yellowstone fans expected to tune in, fans will no doubt be wondering where they recognise the show’s brilliant cast of newcomers and old favourites.
Let’s take a look at some of the biggest names gracing the screens in the latest epic chapter in the Dutton saga.
Who stars in Marshals: A Yellowstone Story?
Luke Grimes will be reprising his leading role as Kayce, with fellow Yellowstone star Brecken Merrill also returning as his on-screen son, Tate. Away from the hit Western franchise, Merrill has also appeared in the 2025 thriller film Lifeline.
Grimes has recently appeared in the film Eddington, starring Joaquin Phoenix and Pedro Pascal, and has also starred in the Fifty Shades of Grey trilogy as Elliot, the younger brother of Jamie Dornan’s Christian Grey.
Two additional stalwarts from the original series are confirmed to be returning: Gil Birmingham as Chief Thomas Rainwater, the Chairman of the Broken Rock Reservation, and Mo Brings Plenty as his trusted aide, Mo.
Birmingham is perhaps best known for his roles in the Taylor Sheridan-scripted films Wind River and Hell or High Water, as well as for playing Billy Black in the Twilight films. Mo has appeared in the films Jurassic World Dominion and Dead Man’s Hand, as well as TV shows The Good Lord Bird and Lawmen: Bass Reeves.
The main cast is rounded out by four newcomers portraying Kayce’s colleagues with the US Marshals. They are Arielle Kebbel (The Vampire Diaries) as Belle Skinner, Ash Santos (American Horror Story) as Andrea Cruz, Tatanka Means (Killers of the Flower Moon) as Miles Kittle, and Logan Marshall-Green (Upgrade) as Pete Calvin.
Kebbel has also appeared in hit shows such as Gilmore Girls and co-starred with Grimes in Fifty Shades Freed, while Marshal-Green is recognised for his roles in Spider-Man: Homecoming, Prometheus, and When They See Us.
Meanwhile, Santos has appeared in Lindsay Lohan’s Christmas rom-com Our Little Secret, Mayor of Kingstown, and Pulse, and Means is also known for Western drama series The Son, Reservation Dogs and Kevin Costner’s ambitious Horizon film series.
Brett Cullen (The West Wing) is also set for recurring appearances as Harry Gifford, the head of Montana’s US Marshals unit who distrusts Kayce and the rest of the Duttons.
Ellyn Jameson Barry also has a recurring role as Dolly Weaver, while the first season has so far featured guest appearances from Chad Michael Collins (Sniper) as Owen Kilborn, and Loren Anthony (The Lone Ranger) as Jim Kane
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Finally, main cast member Kebbel has hinted that several “recognisable” country music stars will be making guest appearances throughout the series.
This includes singer Riley Green making his acting debut, while others will be making cameo appearances performing some of their hit tracks. Keep your eyes peeled for some familiar faces.
Marshals: A Yellowstone Story continues Sundays on CBS and Mondays on Paramount+.
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What sounded like a very cool L.A. Art Week party ended up getting a bit too rowdy. On Sunday night the Los Angeles Police Department was called to a former 99 Cents Only store on Wilshire Boulevard where an opening night party was underway for a week-long pop-up called “99CENT,” organized by former tagger and blue-chip artist Barry McGee and presented with the Hole gallery.
An LAPD public information officer confirmed that officers responded to a disturbance call at the location, which is just down the street from the Los Angeles County Museum of Art and the Academy Museum, at 10:30 p.m. Sunday. Police arrived to find “a large group of about 20 or 30 people, drinking and playing loud music.” The crowd dispersed on its own after law enforcement arrived.
Neighbor Rebekka Mueller, who lives across the parking lot from the store, said that a concert at the event had attracted hundreds of people, a number of whom took to tagging four or five neighboring businesses, including the now-closed historic Googie-style Johnie’s Coffee Shop.
The event drew plenty of respectful art fans, Mueller said, “but attracted lots of other people, and they started tagging the whole building — but not in an art way. And then it spilled over to the businesses nearby, to an insurance company, and then two apartment buildings were completely tagged … and they had no security on site when this happened. So this was very alarming for the neighborhood.”
Cole Schiffer, whose family owns the 99 Cents building, said he was sorry that neighbors’ structures were tagged and that he has been working all week to paint over the tagging.
“We didn’t know that this would happen. I was pretty naive about the graphic art world,” he said. “We’re business owners, we spend a lot of time removing graffiti. My mom grew up in this neighborhood. My grandparents lived and died here, so honestly, it’s a little sad and crazy to see this graffiti all over the neighborhood.”
Schiffer said things had calmed down after Sunday night and that the Hole gallery was working to avoid problems for the rest of the week’s festivities.
In a brief story about the event, Times freelancer Mariella Rudi noted that the 99 Cents store had been transformed into, “a dense, joyous artist flea market” featuring, “more than 200 contributors and well over 4,000 works.” When Rudi was there on Sunday night she said she didn’t see any destructive behavior.
“Paintings are stacked against old shelving. Shopping carts hang from the ceiling. You can even check out your purchases at the register, complete with a sticker and a receipt,” Rudi wrote, adding, “Graffiti-heavy aisles will thrill fans of Beyond the Streets, but a handwritten sign near the entrance offers a final note: ‘Please, no tagging inside. Owners are cool.’ ”
The pop-up will feature puppets from Bob Baker Marionette Theatre this Sunday, as well as an Anti-Fascist Zine Fair. This whole scene is right up my alley, and I say, “Yes, please,” to more edgy arts programming featuring outsider artists and youthful rebellion.
But it seems a minority of guests decided to dishonor the spirit of the event by disrespecting the boundaries put into place by organizers.
Even neighbors who complained, like Mueller, said they were big supporters of the arts and that a lot of great art was on display inside the store — they wished the situation had played out differently, and they hope Sunday night’s grand finale proves more in control.
Mueller said that although organizers had painted over many of the tags, the situation at Johnie’s had not yet been remedied.
I’m Times Arts editor Jessica Gelt, and I’m here for all the colorful underground fun — and the angry dissent that often comes with it — but none of the destruction of property.
You’re reading Essential Arts
The week ahead: A curated calendar
FRIDAY All My Sons Oánh Nguyễn directs Antaeus Theatre Company’s production of Arthur Miller’s 1946 Tony-winning play about a Midwestern family facing a moral reckoning after World War II. Through March 30. Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale. antaeus.org
Detail of a photo by Lou Bopp, seen in the documentary “All the Empty Rooms.”
(Netflix)
All the Empty Rooms Photos memorializing the bedrooms of children lost to school shootings captured by photographer Lou Bopp and reporter Steve Hartman and featured in the Oscar-nominated documentary short film directed by Joshua Seftel, are on display at an outdoor installation. Through Monday, Sunset Triangle Plaza, 3700 Sunset Blvd.
And What of the Children? Writer-director Ryan Lisman’s play blends drama, dark comedy and horror in a psychological thriller about a trio of siblings in the Witness Protection Program. Through March 15. The Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles. events.humanitix.com
Front and Center: Emerging Artists with the Colburn Orchestra Salonen Fellows Mert Yalniz and Aleksandra Melaniuk will lead a varied program of concerto works spotlighting up-and-coming soloists. The performance will be live streamed. 7 p.m. Friday. Zipper Hall, 200 S. Grand. Ave., downtown L.A. colburnschool.edu
John Giorno in Andy Warhol’s “Sleep.”
(Andy Warhol/John Giorno Collection, John Giorno Archives. Studio Rondinone, New York, NY.)
Sleep John Giorno, the subject of the exhibition “John Giorno: No Nostalgia,” stars in Andy Warhol’s 1964 five hours and 21-minute silent film. Free with a reservation. 5-10:30 p.m. Friday. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org
SATURDAY
John Holiday in the title role of LA Opera’s 2026 production of “Akhnaten.”
(Cory Weaver)
Akhnatan John Holiday stars in L.A. Opera’s production of Philip Glass’ portrait of the Egyptian pharaoh, sung in in English, Ancient Egyptian, Biblical Hebrew and Akkadian. Directed by Phelim McDermott and conducted by Dalia Stasevska making her company debut. Through March 21, Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
Attacca Quartet and Theo Bleckmann The versatile Grammy-winning ensemble teams with vocalist Bleckmann on David Lang’s “note to a friend,” a chamber opera based on three reimagined texts by Japanese writer Ryunosuke Akutagawa. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
From Strand to Sculpture A self-guided tour of the Japanese bamboo basketry exhibition will be followed by a lecture from bamboo art expert Robert Coffland, founder of TAI Gallery (now TAI Modern) in Santa Fe, N.M., and now president of the Santa Fe gallery Textile Arts Inc. The lecture is also available via Zoom. 4-7 p.m. Saturday. The Gamble House is located at 4 Westmoreland Place, Pasadena. gamblehouse.org
The Price Richard Fancy, Dana Dewes, Jason Huber and Scott G. Jackson star in Arthur Miller’s late-period drama about two brother’s cleaning out their late father’s New York brownstone. Through April 5. Pacific Resident Theatre, 703 Venice Blvd. pacificresidenttheatre.org
Pepe Romero Returns The classical guitarist joins the Long Beach Symphony for a concert featuring ”Concierto de Aranjuez” by Joaquín Rodrigo, Gabriela Lena Frank’s “Elegia Andina” and movements from Handel’s “Water Music Suites.” 7:30 p.m. Saturday. Long Beach Terrace Theater, 300 E. Ocean Blvd. longbeachsymphony.org
Bud Cort in the 1971 movie “Harold and Maude,” screening March 15 at the Aero.
(CBS via Getty Images)
Starring Bud Cort The American Cinematheque salutes the singular character actor, who recently died at 77, with screenings of Robert Altman’s “Brewster McCloud” (1970), Wes Anderson’s “The Life Aquatic With Steve Zissou” (2004) and Hal Ashby’s“Harold and Maude” (1971). “Brewster McCloud”, 2 p.m. Saturday in 35mm. Egyptian Theatre, 6712 Hollywood Blvd.; “The Life Aquatic”, 3 p.m. March 14; “Harold and Maude,” 1 p.m. March 15 in 35 mm. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
SUNDAY Unassisted Residency Every edition of erstwhile weatherman Fritz Coleman’s monthly comedy show features a special guest. 3 p.m. Sunday. El Portal Theatre, Monroe Forum, 5269 Lankershim Blvd., North Hollywood. elportaltheatre.com
TUESDAY Camerata Pacifica The ensemble performs a program that includes Madeleine Dring’s “Trio for Flute, Oboe and Piano,” the world premiere of David Brice’s “Natural Light,” Cécile Chaminade’s “Thème varié for Piano, Op. 89” and Antonín Dvořák’s “Quintet in A major for Piano and Strings, Op. 81,” arranged by David Jolley. 3 p.m. Sunday. Bank of America Performing Arts Center, Janet and Ray Scherr Forum, 2100 E. Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, 1151 Oxford Road, San Marino; 8 p.m., Thursday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. Friday. Music Academy of the West, 1070 Fairway Road, Santa Barbara. cameratapacifica.org
WEDNESDAY
Sara Porkalob, playwright and performer of “Dragon Mama.”
(Corey Olsen)
Dragon Mama Writer-performer Sara Porkalob returns in Part II of her Filipina American “gangster” family’s intergenerational saga, “The Dragon Cycle,” this time centering her mother’s journey. Directed by Andrew Russell Through April 12. Geffen Playhouse, 10886 Le Conte Avenue, Westwood. geffenplayhouse.org
THURSDAY The Adding Machine The Actors’ Gang performs Elmer Rice’s 1923 satire that provides a prophetic warning from the past for our present. Through April 18. The Actors; Gang, 9070 Venice Blvd., Culver City. theactorsgang.com
Dante and Beethoven’s Sixth Gustavo Dudamel conducts the L.A. Phil in Beethoven’s “Symphony No. 6 in F major, Op. 68 – Pastoral” and Thomas Adès’ “Inferno – Part 1.” 8 p.m. Thursday; 11 a.m. Friday; and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Bill T. Jones/Arnie Zane Company A remounting of the historic dance theater work “Still/Here,” created by Jones 30 years in the midst of the AIDS epidemic from interviews with terminally patients which he called “survival workshops.” 8 p.m. UCLA Royce Hall, 340 Royce Drive, Westwood. cap.ucla.edu
Arts anywhere
New releases of arts-related media.
Clockwise from top left, artists Candice Lin, Njideka Akunyili Crosby, Tomás Saraceno and Ragnar Kjartansson from “Art in the Twenty-First Century.”
(Art21, Inc.)
Art in the Twenty-First Century Museums are fantastic, but do you ever want to know what’s going on right now in the art world? Since it debuted in 2001, this video series has focused on contemporary art and artists and has been a mainstay of public broadcasting. The second episode of the 12th season (they’re released biannually) debuted Feb. 11 and profiles four international artists, Njideka Akunyili Crosby, Ragnar Kjartansson, Candice Lin and Tomás Saraceno, who use ordinary materials to make extraordinary art. Of local note, Crosby and Lin both live and work in L.A., and the Huntington in San Marino makes an appearance as well. Watch at art21.org, YouTube and pbs.org.
(Princeton University Press)
Michelangelo & Titian It may not have been a heated rivalry, but author William E. Wallace makes the case that the two great Renaissance artists drove each other to excel in a new dual biography subtitled “A Tale of Rivalry and Genius.” Princeton University Press: 248 pp., $35. press.princeton.edu
Japan’s Yuma Kagiyama competes in the figure skating men’s singles free skating at the 2026 Winter Olympics on February 13 in Milan, Italy.
(Robert Gauthier/Los Angeles Times)
Turandot: Christopher Tin Finale The two-time Grammy-winning composer completed Giacomo Puccini’s famously unfinished final opera for this EP recorded at London’s Abbey Road Studios with an all-star cast. You may even have heard it during Japanese figure skater Yuma Kagiyama’s free skate program at the recent Winter Olympic Games in Milan (Kagiyama won silver for the second time). Not only was Milan Puccini’s hometown, but the Games coincided with the 100th-anniversary of the premiere of the opera at Teatro La Scala. Tin Works: $12-30. Available on vinyl, CD, digital download and streaming platforms.christophertin.com
— Kevin Crust
Culture news and the SoCal scene
Frieze Los Angeles returned to the Santa Monica Airport on Feb. 26.
(Casey Kelbaugh / Courtesy of Frieze and CKA)
Art Week is here, and L.A. is overflowing with guests, artists and dealers from around the world as the city stages a wide variety of fairs, exhibitions, dinners and other arts events. The Times put together a handy guide to all the fairs you need to see, including Frieze, Butter LA and the Other Art Fair.
Freelancer Jane Horowitz wrote an in-depth piece about Frieze’s “Body & Soul,” a public art program of eight installations designed to reach beyond traditional art fair audiences. The story gives information about site-specific installations and the artists behind them, including Patrick Martinez. Amanda Ross Ho and Kelly Wall.
Kara Walker, “Unmanned Drone,” 2024, bronze
(Ruben Diaz)
Earlier this week, MOCA announced it had acquired 158 works by 106 artists in 2025 and that it had acquired the centerpiece of its current blockbuster “Monuments” exhibit: “Unmanned Drone,” by artist Kara Walker. “Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists,” I wrote in a story about the acquisition.
Our major investigation into L.A. arts icon Judy Baca also published this week, featuring allegations by 10 former employees, including two managers, that Baca used her nonprofit arts center, SPARC, to benefit her private, for-profit art practice, Judy Baca Inc. They also alleged Baca personally benefited from a $5-million Andrew W. Mellon Foundation grant to expand her most famous work, a community-driven effort known as “The Great Wall of Los Angeles.”
Alexander Hurt, left, Katie Holmes and Charlie Barnett in “Hedda Gabler.”
(Rich Soublet II)
Times theater critic Charles McNulty headed to San Diego’s Old Globe to catch Katie Holmes in a new take on Henrik Ibsen’s “Hedda Gabler” written by Erin Cressida Wilson “that compresses the action and sharpens the language to a razor’s edge.”
“Beethoven’s ‘Missa Solemnis’ is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes,” writes Times classical music critic Mark Swed in his review of Gustavo Dudamel and the L.A. Phil’s performance of the challenging piece. “It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually.” The concert at Disney Hall was part of Dudamel’s “month-long L.A. Phil focus on Beethoven.”
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The Los Angeles County Museum of Art announced that its partnership with Hyundai Motor Co. will continue until 2037. The union was first cemented in 2015, and the museum said in a news release that it “represents the largest programmatic commitment from a corporate partner in LACMA’s history.” The announcement included two initiatives “that will define the next chapter” of collaboration. “The first initiative is a new exhibition series under the title ‘Hyundai Project.’ Beginning in 2028, the museum will present a biennial survey of an artist with significant ties to Los Angeles and the Pan Pacific region. The featured artist will also develop a large-scale banner for the exhibition that will be installed on the exterior of the Broad Contemporary Art Museum (BCAM). Secondly, with Hyundai Motor’s renewed support, LACMA will expand the scope, visibility, and impact of the Art + Technology Lab,” the release noted.
Responsible for selling 35 million records worldwide, Snoop Dogg can now add record ticket sales to his resume.
The club have opened up sections of the away end because of the spike in interest, meaning not only have the ‘sold out’ signs gone up for the visit of Preston North End, the game is also set to see more Swansea fans in the ground than ever before.
It’s a short term hit of buzz for a club that lost its way after relegation from the Premier League in 2018.
Eyes, however, are now on a return – with the involvement of Snoop part of a longer-term plan that Swansea chief executive Tom Gorringe says has “no limits”.
Brought on board by the club’s US owners Brett Cravatt and Jason Cohen in July, Snoop’s minority stake didn’t mean a large injection of cash.
But it did mean a huge boost to its ability to sell itself.
“The reality is that if we operated within our natural resources we couldn’t compete financially,” says Gorringe, speaking just after helping show Snoop around the club’s training base on Monday afternoon where he met players and staff.
“PSR (profit and sustainability rules) is our biggest constraint. We are up against sides with parachute payments and we have one of the lowest turnovers.
“We have to think of new ways to generate income. We are an underdog and part of the attraction for him is the difference he can make with the pull he naturally has.”
That pull includes more than 100 million social media followers – more than Wrexham’s ownership combined – that Swansea have already looked to make the most of.
Beyond growing the brand and the wider fan base, which Gorringe admits “takes time”, there have already been tangible benefits.
Income has been tie-ins including clothing collaborations with Snoop’s own publishing label, the iconic Death Row Records that was once the home of Dr Dre and Tupac Shakur.
“By December, our retail business surpassed last year’s revenue,” says Gorringe, who has previously suggested that sponsorship deals for next year are set to be bigger and better than any previous agreement.
Ira Parker intended the very last scene of “A Knight of the Seven Kingdoms,” Episode 6 (titled “The Morrow”), to be just “something that was a little funny.”
Sunday’s season finale of the HBO fantasy series ends with everyone, including the royal Targaryen entourage, departing Ashford after the conclusion of the trial and tournament. Just before the credits roll, Prince Maekar, who notices his young son Aegon is once again missing, frantically shouts, “Where the f— is he?”
“To be honest, the very, very, very end was almost just meant as a joke,” the showrunner says during a recent video call. “But I think people — both in my writing camp and in the HBO camp and probably in the world — took that quite literally. So I’ve maybe had to deal with it a little bit more in Season 2 than I was planning to.”
“A Knight of the Seven Kingdoms” showrunner Ira Parker, right, with director Sarah Adina Smith on the set of the fantasy series.
(Steffan Hill / HBO)
Starring Peter Claffey as Ser Duncan the Tall and Dexter Sol Ansell as Prince Aegon Targaryen, “A Knight of the Seven Kingdoms” is an adaptation of George R.R. Martin novellas set in the same world as his “A Song of Ice and Fire” series. These “Tales of Dunk and Egg” stories take place around 100 years before the events depicted in “Game of Thrones.”
The moment in question could be a big deal for some fans of Martin’s novellas. The scene is not included in “The Hedge Knight,” the book upon which the first season of “A Knight of the Seven Kingdoms” is based. Whether Egg had Maekar’s permission to join Dunk’s travels as his squire is left more open ended in the novella itself.
While the young prince said he had his father’s blessing, “it’s not confirmed canonically” in the book, says Parker. “We haven’t done anything egregious here, I don’t think. [And] I believe it from a character perspective. I believe that Egg would do that again, because he’s already done it. We’ve seen him. He runs away. That’s sort of his thing. And he lies to people.”
Without sharing any details, Parker teases the situation will be addressed again next season.
Dunk (Peter Claffey) in the season finale of “A Knight of the Seven Kingdoms.”
(Steffan Hill / HBO)
The showrunner, who co-created the series with Martin, admits that approaching “The Morrow” was “daunting.” Set in the aftermath of Trial of Seven, Episode 6 involved “a lot of creation” to stretch out the remaining events from the source material.
“Very early on, all of us knew that we weren’t going to add any story,” says Parker, who previously worked on “Thrones” prequel “House of the Dragon.” “The story is the story. We’re going to be 100% faithful to the novellas in that respect. But where we could add, because we needed about another 50% of material in order to fill out even our six 30-minute episodes, was going to be in the characters.”
This has meant the show has spent more time with the very relatable Dunk and his precocious charge Egg. Its supporting ensemble including Lyonel Baratheon (Daniel Ings) and Raymun Fossoway (Shaun Thomas), who give Dunk a helping hand, have also been more fleshed out. This has allowed audiences to just “enjoy hanging out in this world.”
“I wasn’t always convinced that people would allow us to do it,” Parker says. “Hanging out in Westeros. It meant a little bit of a slower start. Luckily, people have come along with us on the ride. … We really just hoped that people would be charmed enough by these characters and the story and want good things for Dunk.”
Like “The Hedge Knight,” the episode concludes by teasing Dunk and Egg’s journey to Dorne, but Parker confirms Season 2 will be an adaptation of the second novella, “The Sworn Sword,” which takes place a year and a half or so after the events of “The Hedge Knight” and sees the pair in a part of the Reach.
“I love ‘The Sworn Sword’ because I think it’s very funny, and I think the sort of ‘will they / won’t they’ between Dunk and Lady Rohanne is just good territory for us,” he says. (Parker said they considered setting Season 2 in Dorne but that it would have taken too much time to flesh out the story even with Martin’s notes.)
In a conversation edited for clarity and length, Parker discussed his collaboration with Martin, every aspect of the show being a reflection of Dunk, and “A Knight of the Nine Kingdoms.”
Lyonel Baratheon (Daniel Ings), left, and Dunk (Peter Claffey) while a maester (Paul Murphy) looks over the injured hedge knight.
(Steffan Hill / HBO)
The show is called “A Knight of the Seven Kingdoms,” but in the finale, Egg points out to Dunk that there are actually nine kingdoms in Westeros. Can you explain that moment and actually showing the alternate title card?
The situation is so overwrought in this episode. With Baelor’s death and with everything that Egg has gone through, which we see him struggling with. Where Dunk’s head is at, going off alone again. The fact that they both get together is wonderful and uplifting, but we sort of had to reassure the audience — that even though Egg is now officially a prince and Dunk knows that, and this tragedy has come to pass between the two of them, the core of that relationship, what we learned to love about their relationship before all of this happened, actually still remains. So that was the importance of having a type of conversation like that. It didn’t necessarily have to be the conversation about the kingdoms, but just Egg, in his way, making sure that Dunk never feels like he knows anything. And it is a wink to the audience and to the fans [who have raised questions about the number], but we’re not changing the name of the show.
You mention Egg’s struggles and we do see just how much anger he has toward his brother Aerion in this episode. What were your thoughts on depicting that onscreen and what it says about Egg?
I talked to George a little bit about Egg and his motivations early on, and George said kids feel disappointment more acutely and that that is a huge part of it. It’s not to be discounted. I don’t want to go out there and say it’s because of Targaryen trauma and everything he’s been through. He’s a boy. Things were happening that were very nice for him that he was very happy about. Then it was all taken away and he blames people. He feels like he’s caused all these problems [for others], and when that doesn’t have a place to land, that’s what turns into anger. It just sort of brews up inside of you.
He sees Aerion as the true cause of all this. At that young age, he doesn’t know how to undirect that. He has some sort of a father there in Maekar. But the fact that he ends up with Dunk, that’s the whole story of Episode 6. Is Dunk, after all this, going to decide to save this kid who is just going to be thrown to the wolves otherwise? Who’s not going to get what he needs to direct his frustration and his disappointments to good energy targets? Kids who have that end up, generally, in better situations than kids who don’t.
It’s very important for me to show the importance of having a mentor in your life. We’re obviously very thematically about fathers and sons, knights and squires, and, to a certain extent brothers. But it is, at the core of it, what it is to have a teacher. Dunk had that in Ser Arlan. Dunk certainly has no obligation to do anything for this family at this point and he does it … because it was done for him. So he’s paying it forward, being a benefit to the person next to him.
Dunk (Peter Claffey) is ready for his next journey.
(Steffan Hill / HBO)
That’s one thing that sets Dunk apart. He’s one of the few people we see in this world who believes in doing good and that that’s what he’s supposed to be doing.
There’s an addition to that, which is that he wants so badly to do good and do right by his mentor who taught him what a knight was supposed to be. But there is this feeling that the world isn’t going to let you do that. We see somebody like Ned Stark, who’s very honorable, [but] probably suffered ultimately from his naivety — his belief in others. Dunk, I think, has one extra level. Or maybe I’m just projecting that onto him because sometimes I think about how to protect myself in this world where not everybody always has the best intentions. You so badly want to do good, but then there’s also the reality of that, and a big part of Dunk’s early journey in this world is learning those lessons.
Maybe that’s just because my head is also stuck in Book Two, where I think that is brought even more to the forefront. But he’s never going to change. He’s always going to be hopeful.
You did a Reddit AMA recently and you responded to someone who had asked about the show’s production budget that everything in this show was a reflection of the lead character. Can you explain what you meant by that?
It’s very chilling at the beginning to realize that you have one [point of view] character, but then when you realize how many facets go into making up that one person — from costumes, cinematography, music, everything — you realize you actually are telling a lot of different stories, just about one person and how they relate to the world. You have to make sure that that is one hell of an immersive experience, because it’s not like you could just have an audience member tune out if they don’t like the Dunk story this week. We had to make you feel in every single episode that you are in that situation, that you can somehow relate to Dunk and what he’s going through. This is because it’s about to get even tougher for him. Hopefully the people who come to us for the light, fun, enjoyable take on Westeros will stick with us through some of the harder, trickier, grimmer moments. Because this is George R.R. Martin’s world, and it gets dangerous.
But it was actually a very nice, natural way for us to differentiate ourselves [from the other shows]. We’re not a prequel. These are novellas that have existed for 30 years. It’s more organic. Rather than being so grand and epic in scale, it’s still small and simple and hopeful. [Dunk’s] still basically just a kid. It’s two kids setting out to have a little bit of fun. There’s got to be some some whimsy about it. That very easily allowed us to find our own voice.
Egg (Dexter Sol Ansell) has a lot of anger for his older brother.
(Steffan Hill / HBO)
How is it like to work with George R.R. Martin?
He has been wonderfully collaborative. It’s been the most fulfilling creative partnership of my whole life. A lot of people can start out in this industry reading your stuff and telling you what they think is wrong without asking you why you did something the way that you did it. Giving you the benefit of the doubt and the conversation jumping off from there, George is very good at that. Whenever he would call me about a new script, we’d talk out what’s in my head in the version of events that led me down this path. And then he talks about why he either did it another way or has issues with it. It becomes a very natural conversation. It’s an extension of a writer’s room with a living legend, one of the greatest living writers in the world today. He just likes talking about this stuff with you, and I like talking about it with him.
What were your earliest conversations with him about “Dunk and Egg” like? Did you already have an idea of how you wanted to do the show before you talked to him?
I swung pretty wildly at the beginning from the point where HBO sent it to me — where I thought “Game of Thrones” shows are 10 episodes, an hourlong each, how could we possibly do that with these three novellas — to finding out what HBO’s intentions were for it, finding out what George’s intentions were for it. Having conversations with George about what he likes, why Dunk is his sole POV character. Why, for example, he never wrote any Egg chapters. He has so many specific thoughts on all of this that that really helped inform what my approach was going to be.
I think it was very important for me to go into that first meeting, when I flew to Santa Fe to meet him, with a mile-high preparation. I knew everything possibly in and around this world and these characters, and I had a lot of pitches, if it came to that. But I didn’t go in there and lead with that. I just went and I sat down and we had conversations. I asked a lot of questions and I listened a lot. And then I went back and I re-formed and I went off and wrote a pilot. Then we were off to the races.
Raymun Fossoway (Shaun Thomas), left, was a true friend to Dunk (Peter Claffey).
(Steffan Hill / HBO)
You worked on “House of the Dragon,” which is such a different show, even though it’s in the same world. How did your time there affect how you wanted to approach this show?
That room was one of my favorite rooms that I’ve ever been in. Ryan Condal is a true writer’s writer. He has so much love for this world. It’s funny because everybody thinks comedy rooms are just so funny all the time, everybody’s cracking jokes, and drama rooms are so serious because of the material. It’s actually often the exact opposite. In drama, because comedy is not currency, everybody’s just cracking jokes all the time. And Ryan has such a sharp wit; we share a very similar sense of humor. I think it was him who put me forward for this to HBO when they were looking for a writer for “Dunk and Egg,” and I’m very grateful.
Our room for “Knight of the Seven Kingdoms” was very different. We hired all drama writers, just people that have different sensibilities. I felt like I was living my very best days. We had 11 days in that writer’s room because the writers’ strike shut us down so quickly, but we knew that that was coming up. So we got going as fast as we possibly could and we broke as much as we could. Then I assigned scripts the very last day. But those 11 days in that room, I think we broke, ultimately, 20 seasons of a show by accident.
We were having so much fun, we were creating it all for the first season. We did it all for six episodes. As soon as we got back from the strike, a few of my writers were just like, “How do you expect us to write 35-minute episodes with these beats to be broken?” We pulled it a lot, lot back from what that was, but writers rooms are the happiest place on Earth, or least lonely place on Earth. It’s not always happy — it’s hard sometimes.
Embattled Hollywood mogul Casey Wasserman, who is facing mounting pressure to resign from his position at the helm of the 2028 L.A. Olympics, also holds another important cultural appointment on the Los Angeles County Museum of Art’s board of trustees.
Wasserman, 51, joined LACMA’s board in 2004 when he was 30, two years after he founded his eponymous talent and marketing agency. Just last week, Wasserman announced he would sell his agency after racy emails between himself and convicted sex trafficker and Jeffrey Epstein associate, Ghislaine Maxwell, emerged at part of the Justice Department’s latest release of millions of documents related to the Epstein files.
Wasserman, the grandson of legendary studio exec Lew Wasserman, arrived at LACMA as part of a wave of relatively young additions to a notoriously older board. His addition also heralded the dawning of an era in which LACMA actively sought to strengthen its connections with the entertainment world. In 2011, LACMA launched its glitzy Art + Film Gala, an annual party co-chaired by Leonardo DiCaprio that serves as a melting pot for A-list celebrities and art world stars.
“There was an understanding — the message was there needed to be a change in the board,” museum director Michael Govan told The Times in a 2015 interview. “The board was in extreme need of refreshment.”
Now that Wasserman’s leadership in other roles is being questioned , will his relationship with LACMA follow? LACMA did not respond to a request for comment. Although the board generally meets a few times a year, it may not be an issue that has come to the fore as of yet.
Thus far, LA28 has stood by Wasserman, noting in a recent statement that his emails with Maxwell were sent years “before Mr. Wasserman or the public knew of Epstein and Maxwell’s deplorable crimes … This was his single interaction with Epstein.”
“The Executive Committee of the Board has determined that based on these facts, as well as the strong leadership he has exhibited over the past ten years, Mr. Wasserman should continue to lead LA28 and deliver a safe and successful Games,” LA28 wrote.
L.A. Mayor Karen Bass said in a recent CNN interview that she believed Wasserman should step down, and that it is “unfortunate” that Olympic organizers remained in support of him.
In a memo to staff at his talent agency, Wasserman wrote that he was “heartbroken that my brief contact with them 23 years ago has caused you, this company, and its clients so much hardship over the past days and weeks.”
I’m arts editor Jessica Gelt with this week’s arts and culture news.
You’re reading Essential Arts
The week ahead: A curated calendar
FRIDAY
The cast of “Cinderella: A Salsa Fairy Tale.”
(South Coast Repertory)
Cinderella: A Salsa Fairy Tale The classic fairy tale moves to the basketball court in this hip-hop fueled musical adaptation for young audiences with a book and lyrics by Karen Zacarías and music by Deborah Wicks La Puma. Directed by Sara Guerrero. Through March 8. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Dr., Costa Mesa. scr.org
Dear Little Friend: Impressions of Galka Scheyer The exhibition from the German-born art dealer’s collection includes portraits and ephemera, featuring such artists as Maynard Dixon, Peter Krasnow, Beatrice Wood and Edward Weston, as well as gifts from the Blue Four artsist, whose work Scheyer championed: Alexei Jawlensky, Lyonel Feininger, Paul Klee and Vassily Kandinsky. Thursday-Monday, through July 20. Norton Simon Museum, 411 West Colorado Blvd., Pasadena. nortonsimon.org
The Industry LAB 2026 The innovative opera company partners with REDCAT for this series featuring new works: a shared program of Guillermo E. Brown’s “The Instrument, Romance, Bee Boy” and Carmina Escobar’s “Our Voice Is Not at the End of Anything” (8 p.m. Tuesday-Wednesday; 8 p.m. Friday and Saturday; 3 p.m. Saturday-Sunday); and Matana Roberts’ “spiral resonance: a study in the abstract,” an immersive sound and moving image installation exhibition (noon-6 p.m., daily through March 1) with solo activation performances in the space by Patrick Shiroishi (8 p.m. Tuesday); Ryan Sawyer (8 p.m. Wednesday); Roberts (8 p.m. Feb. 27); Kyp Malone (8 p.m. Feb. 28); and Judith Berkson (3 p.m. March 1). Through March 1, 2026 REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Wallace Berman/Bruce Conner A pair of solo exhibitions highlighting extraordinary mark-making: “It Don’t Mean a Thing (If It Ain’t Got That Swing)” salutes the centennial of post-war counter-culture artist Berman with a rare showing of his large-scale photographic collages; “Inkblots and Felt Tip Drawings” focuses on an often overlooked aspect of multimedia artist Conner’s work. A selection of Conner’s experimental films are being exhibited at Marciano Art Foundation (see below). Tuesday-Saturday, through April 25. Michael Kohn Gallery, 1227 North Highland Ave. kohngallery.com
Missa Solemnis Gustavo Dudamel and the Los Angeles Philharmonic are joined by more than 100 voices from the Cor de Cambra of the Palau de la Música Catalana and Orfeó Català of Barcelona for this Beethoven mass that is rarely performed due to its ambitious scale. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Jon Serl: As One, As Many Starting in vaudeville before moving to California and working as a Hollywood voice actor and gardener, Serl became a painter following World War II with a long, expressive career illustrated in this retrospective. Fittingly, the artist had his first museum exhibition in 1981 at the Newport Harbor Art Museum (now UC Irvine Langson Orange County Museum of Art). Through June 7. UC Irvine Langson/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
Marco Perego “The Being” is a solo exhibition featuring video, installations and drawings by Italian-born artist. Through April. Jeffrey Deitch, 7000 Santa Monica Blvd., Los Angeles. deitch.com
Christina Kirk and Norbert Leo Butz, seated, with the cast of “The Recipe.”
(Rich Soublet II/La Jolla Playhouse)
The Recipe Christina Kirk and Norbert Leo Butz star as Julia and Paul Child in the world premiere of Claudia Shear’s play about the world-famous chef. Directed by Lisa Petersen. Through March 22. La Jolla Playhouse, 2910 La Jolla Village Dr. lajollaplayhouse.org
Puppet Up! – Uncensored Created by Brian Henson and directed by Patrick Bristow, this irreverent, ever-changing show features the Miskreant puppets plus classic Jim Henson sketches unseen by live audiences for decades. 7 p.m. Friday and Saturday; 5 p.m. Sunday; 7 p.m. Feb. 27-28; 5 p.m. March 1. The Montalbán, 1615 Vine St., Hollywood. puppetup.com
SATURDAY Kyreeana Breelin Alexander The interdisciplinary artist performs “We Cool,” a solo autobiographical coming-of-age story fueled by rhythm and movement. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Judith F. Baca With “The Great Wall Of Los Angeles: The 1970’s — A Decade Of Defiance And Dreams,” the artist’s organization SPARC (Social and Public Art Resource Center) exhibits the latest complete segment in the monumental work’s expansion. Opening reception, 6-8 p.m.; through April 4. Jeffrey Deitch, 925 N. Orange Dr. deitch.com
Bruce Conner, “Crossroads,” 1976. 35mm, black/white, sound, 37 min. Digitally Restored, 2013.
(The Conner Family Trust/Michael Kohn Gallery)
Bruce Conner “Recording Angel” brings together seven of the artist’s experimental films, composed of found, scavenged and original footage, and re-cut using his influential rapid-fire editing techniques. Through July 18. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org
Patti LuPone The Broadway star marks the 25th anniversary of her concert “Matters of the Heart,” which ran on Broadway and London’s West End and toured the globe. 7:30 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
John Snow The bassist and his band explore “The Poetry in Music” through works by John Coltrane, Joni Mitchell, Patti Smith, Langston Hughes, Hoagy Carmichael, Bob Dylan and others. 8 p.m. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Tap Fest: Listen to This! Dancers Derick Grant, Sam Weber and Josette Wiggan join the Colburn’s tap faculty and students for a program exploring the concept of the Tap Artist as both a dancer and musician. 7 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
SUNDAY Zhanna Kadyrova A collaboration with Kyiv to LA, an ongoing project supporting Ukrainian artists through a Los Angeles-based residency, and the Thomas Mann House, the solo exhibition “Sliced Realities” explores the artist’s anti-war practice and coincides with the four-year anniversary of Russia’s full-scale invasion of Ukraine. Sunday-Feb. 28. Thomas Mann House (1550 N San Remo Drive, Pacific Palisades. vatmh.org
Museums Free-For-All An Southland tradition in which Southern California arts and cultural institutions open their doors for free general admission. Participants include the Academy Museum of Motion Pictures, the Autry Museum of the American West, The Broad, California African American Museum, the Getty Center and the Getty Villa, UCLA Hammer Museum, LACMA, MOCA, Skirball Cultural Center and many, many more. At some locations, tickets are limited and reservations may be required. All-day Sunday. See complete list of participating institutions at socalmuseums.net/free
Queen Elisabeth Music Chapel Colburn Conservatory of Music welcomes the Belgian conservatory and its master-in-residence, cellist Gary Hoffman, for a joint performance of Fauré’s “Piano Quintet No. 1” and Messiaen’s “Quartet for the End of Time.” 3 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
Sueño Perro This film Installation by Alejandro G. Iñárritu both marks the 25th anniversary of his debut “Amores Perros” and serves as a “resurrection” using projections of never-before-seen fragments from that film’s production. Through July 26. Los Angeles County Museum of Art, BCAM, Level 1, 5905 Wilshire Blvd. lacma.org
We Hold These Truths: A Celebration of Black History Month Over 100 Years The contributions of Black Americans to the cause of democracy over the years are recognized in this collaboration of performers from across artistic mediums. Featured artists include actor Phil Morris, composer Tamar-kali, dancer Ishaun Jackson-Moaney, the West Angeles COGIC Victory Dance Company, opera baritone Derrick Lawrence and promising talent out of the USC Thornton School of Music, opera mezzo-soprano and producer Raehann Bryce-Davis, poet Alyesha Wise and arts scholar and activist Derrell Acon. 3 p.m. Nocturne Theatre, 324 N. Orange St., Glendale. eventbrite.com
TUESDAY Flashback Fun Six Disney classics return to the big screen: “Muppet Treasure Island” (Tuesday); “The Aristocats” (Wednesday); “Dumbo” (Thursday); “The Rescuers” (Feb. 27); “Bolt” (Feb. 28); and “Oliver and Company” (March 1). The El Capitan Theatre, 6838 Hollywood Blvd. elcapitantheatre.com
Filmmaker Jafar Panahi at the Toronto International Film Festival last September.
(Kate Dockeray/For The Times)
It Was Just an Accident: Live Read Film Independent presents writer-director Jafar Panahi’s “incisive drama,” winner of the Palme d’Or at Cannes in 2025 and nominated for international feature film and original screenplay at this year‘s Academy Awards, to the Wallis stage read by a new cast. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Haegue Yang “Star-Crossed Rendezvous” pairs two of the Korean-born, Berlin-based artist’s large-scale installations employing utilitarian objects. The first, “Sol LeWitt Upside Down — K123456, Expanded 1078 Times, Doubled and Mirrored” (2015) is a monochromatic installation inspired by the cube structures of the American conceptual artist. Across the gallery, “Star-Crossed Rendezvous after Yun” (2024) is an homage to composer and political dissident Isang Yun (1917–95). Synchronized to Yun’s “Double Concerto” (1977), an array of moving lights animate vibrant geometric structures to create an ever-changing, multisensory experience. The L.A. Philharmonic will perform Yun’s piece on March 10 at Walt Disney Concert Hall, with a pre-concert viewing of the installation at MOCA Grand. Through Aug 2. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org
WEDNESDAY L.A. Art Week It happens every February. Thousands of artists, collectors, curators and gallerists descend on the city, swelling an already vibrant local scene with a global reach into a week of discovery, creative adventure and fashion flamboyance. The Big Kahuna, of course, is Frieze Los Angeles (Thursday-March 1. frieze.com), a fair with a primarily contemporary focus, approximately 100 galleries, installations and pop-ups restaurants from around L.A.; Butter Fine Art Fair (Thursday-March 1. Hollywood Park, 1237 District Drive, Inglewood. butterartfair.com) features artists representing the African diaspora; Enzo (Wednesday-Saturday. 1634 W. Temple St. enzolosangeles.com) presents nine New York City galleries in an Echo Park warehouse; Felix Art Fair (Wednesday-March 1. Hollywood Roosevelt, 7000 Hollywood Blvd. felixfair.com) showcases exhibitors from around the world in a classic Hollywood setting; the cheekily-named The Other Art Fair Los Angeles (Thursday-March 1. 3Labs, 8461 Warner Dr., Culver City. theotherartfair.com) promises “the bizarre, unexpected, and never normal” with work from 160 independent artists; Post-Fair (Thursday-Feb. 28. 1248 5th St., Santa Monica. post-fair.com) is a dealer-led event in a historic Santa Monica Post Office building; and Start Up Art Fair (Friday-March 1. The Kinney Venice Beach, 737 Washington Blvd. startup-art.com) brings together 150 independent artists, collectors, curators and art professionals. It’s mostly next weekend but we wanted to give you a heads-up. Be sure to watch for Times reporter Malia Mendez’s upcoming preview. Happy art hunting and people watching.
THURSDAY Beethoven and Ortiz with Dudamel Gustavo Dudamel and the L.A. Phil are joined by Grupo Corpa and the L.A. Master Chorale for this charged program pairing Beethoven’s “Seventh Symphony” with Gabriela Ortiz’s ballet “Revolución diamantina (Glitter Revolution).” 8 p.m. Thursday and Feb. 27; 2 p.m. Feb. 28-March 1. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Norbert Leo Butz The Broadway star and two-time Tony Award winner (currently performing in “The Recipe” at La Jolla Playhouse, above) will perform excerpts from his signature roles, original compositions from his four solo records and covers from Tom Waits, Elton John and Bruce Springsteen. 7 p.m. Thursday-Feb. 28. Segerstrom Center for the Arts, Samueli Theater, 300 Town Center Dr., Costa Mesa. scfta.org
Arts anywhere
Something to read, something to hear and something to watch wherever you are.
The Art Book: Mini Format
(Phaidon Press)
The Art Book What’s it like to hold art history in the palm of your hand? Find out with the new Mini edition of this beloved text celebrated for bringing art appreciation to the masses. First introduced in 1994, the updated edition of this A-Z survey features more than 600 artists from medieval times to the present. It’s far from stuffy, including overlooked and contemporary figures including Berenice Abbott, Romare Bearden, Guerrilla Girls and more; plus Takashi Murakami and Wolfgang Tillmans, who The Times happened to interview recently and have L.A. shows (see below). Phaidon Press: 592 pp., $20. phaidon.com
Yunchan Lim
(IMG Artists)
Goldberg Variations Live at Carnegie Hall, New York, 2025 Recorded fewer than 30 blocks form where Glenn Gould laid down his own landmark recording of Johann Sebastian Bach’s masterpiece, pianist Yunchan Lim’s new album has been topping the classical charts since its release earlier this month. If you missed his performance of the Variations at Disney Hall last October (or if even if you didn’t), this is a must listen. Decca Records: $8-38. Available on vinyl, CD and digital download. deccarecordsus.com
An image from Frederick Wiseman’s ‘Titicut Follies.’
(courtesy of Zipporah Films)
Frederick Wiseman The filmmaker, who died Monday at 96, was a master storyteller and craftsman who mainly inhabited the nonfiction realm of the documentary. His perceptive explorations of public and cultural institutions was unparalleled and he was honored with an honorary Academy Award in 2016. If you would like to revisit Wiseman’s work or want an exhaustive introduction, check out the Frederick Wiseman Essential Films Collection at kanopy.com. Virtually every film he ever made is available and all you need is a public library card (an apt requirement!). His final film, “Menus-Plaisirs Les Troisgros” from 2023, can be viewed via the PBS Passport membership portal.
— Kevin Crust
Culture news and the SoCal scene
A detail of miniature “sportraits” during a preview of award-winning animator and visual-effects artist Lyndon J. Barrois’ exhibit, “Futbol Is Life” at LACMA.
Jefferson Mays in “Amadeus” at Pasadena Playhouse.
(Jeff Lorch)
A new take on Peter Shaffer’s “Amadeus” premiered at Pasadena Playhouse last week, and it may be the Tony Award-winning regional theater’s most lavish production to date. I got a behind-the-scenes tour of the theater’s amazing on-site scene shop to write about what it took to put the set, lighting and costumes together; and Times theater critic Charles McNulty attended opening night. Director Darko Tresnjak, writes McNulty in his review, “treats the play as though it were a tragedy wearing the mask of comedy. He doesn’t resist the melodrama that’s inherent in the material, but he refuses to overindulge it. This production hasn’t convinced me that ‘Amadeus’ is a world classic… But I doubt I’ll have the opportunity to see a better revival in my lifetime.”
McNulty also caught a performance of “Sylvia Sylvia Sylvia,” Beth Hyland‘s new play that recently had its world premiere at the Geffen Playhouse, and explores the lives of married writers living in the Boston apartment once occupied by the poet Sylvia Plath and her husband Ted Hughes. “World premieres are risky, and the writing for this one hasn’t yet settled. The play’s split focus, moving between 1958 and the present, is a sign of conceptual ambition. But Hyland struggles to find the pacing and rhythm of her complicated vision,” McNulty writes.
Meanwhile, “Here Lies Love,” David Byrne’s disco musical about the Ferdinand Marcos regime arrived at the Mark Taper Forum in a show directed by Center Theatre Group’s artistic director Snehal Desai. The Times’ Malia Mendez sat down with members of the all-Filipino cast to discuss the ways the show’s exploration of the perils of authoritarianism dovetail with the modern political moment.
Japanese artist Takashi Murakami sits in front of his painting at Perrotin Gallery on Feb. 13, 2026 in Mid City in Los Angeles, Calif.
(Ariana Drehsler/For The Times)
I had the opportunity for a one-on-one chat with artist Takashi Murakami about his solo show at Perrotin, Los Angeles, which features 24 new canvases that explore the connection between the ancient Japanese art of ukiyo-e and Impressionism. A trip to Monet’s gardens in Giverny, France, cemented Murakami’s idea for the paintings.
Contributor Steve Appleford wrote a thoughtful profile on German photographer Wolfgang Tillmans, who is currently staging his ninth Los Angeles exhibition at Regen Projects. “In 2000 Tillmans became the first photographer and first non-British artist to win the prestigious Turner Award. Tate Britain staged his mid-career retrospective in 2003 and the Hammer Museum in Westwood mounted his first major U.S. retrospective that same year, which traveled to Chicago’s Museum of Contemporary Art and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.,” Appleford writes.
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A sketch from architect Paul R. Williams’ archive at The Getty Center.
(Juliana Yamada/Los Angeles Times)
Paul Williams, the first Black architect licensed west of the Mississippi, is the focus of a series of upcoming shows to be staged from August through July 2027 at the Getty, LACMA and USC Fisher Museum of Art. Throughout the course of his six-decade career Williams designed more than 3,000 projects, including for clients such as Frank Sinatra, Lucille Ball and the Beverly Hills Hotel. The exhibitions will feature architectural drawings, photographs, plans and memorabilia, some of which have never been on view to the public before.
Los Angeles Master Chorale announced Artistic Director Grant Gershon’s 25th anniversary season featuring work by Brahms, Bruckner, Arvo Pärt, Bach, Morten Lauridsen and Orlando di Lasso. Guest artists will include the National Chorus of Korea, composer Eric Whitacre, violinist Anne Akiko Meyers, Baroque ensemble Le Concert d’Astrée and theater director Peter Sellars. Subscriptions are available now, and single tickets will go on sale June 1.
The nonprofit arts organization, Los Angeles Nomadic Division (LAND), announced the four artists chosen to receive its 2026 Mohn LAND Grants. They are Shana Hoehn, Angela Anh Nguyen, Harrison Kinnane Smith and Adam Thompson. Winners receive a $5,000 award as well as $5,000 in production funds to use towards a new work commission.
The latest episode of Ryan Murphy’s JFK Jr and Carolyn Bessette show features a mysterious warning letter
23:09, 21 Feb 2026Updated 23:18, 21 Feb 2026
Love Story: John F. Kennedy Jr. & Carolyn Bessette previewed
*Warning – this article contains minor spoilers for Love Story.*
Ryan Murphy’s newest series has thrust the turbulent romance of John F. Kennedy Jr and Carolyn Bessette back into public consciousness.
The fourth instalment of Love Story: John F. Kennedy Jr and Carolyn Bessette arrived this Friday (February 20) and explored a troubling chapter in the pair’s relationship.
During a casual American football match, John (portrayed by Paul Anthony Kelly) discovers a letter in his gym bag containing damning claims about his new partner, Carolyn (Sarah Pidgeon).
Whilst the programme takes creative freedom with particular aspects of the celebrated couple’s narrative, the letter reportedly existed and apparently caused JFK Jr. and Bessette to separate, reports the Daily Record.
Did JFK Jr receive a letter about Carolyn Bessette?
As viewers will be aware, Love Story draws inspiration from Elizabeth Beller’s biography entitled Once Upon a Time: The Captivating Life of Carolyn Bessette-Kennedy.
In the book, Beller alleges that JFK Jr. was given a scathing letter about Bessette in 1992, precisely when their romance was flourishing.
Whilst the programme depicts John challenging Carolyn about the accusations at his apartment, the biography suggests they actually engaged in a public row during an evening meal at iconic eatery El Teddy’s.
Based on Beller’s account, the couple separated for a year following the devastating letter, before reuniting in 1993.
For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.
Who wrote the letter?
Beller doesn’t disclose the writer’s name. Nevertheless, she explains that they “came from a milieu of boarding schools, Ivy League universities, and ‘old money’ families of New York”.
She continued that it supposedly took Bessette several years to uncover who penned the note, but upon learning the identity, she proceeded to “freeze them out”.
Bessette and JFK Jr wed in an intimate ceremony in September 1996. The pair tragically perished together in an aircraft accident in July 1999.
Love Story: John F. Kennedy Jr and Carolyn Bessette is streaming on Disney+
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Willie Colón, a legendary trombonist and pioneer of salsa music, has died. He was 75.
His death on Saturday was confirmed in a Facebook post by his longtime manager, Pietro Carlos.
News of the singer’s condition circulated on the web in recent days. Yonkers Voice News reported Colón was admitted to NewYork-Presbyterian Westchester hospital in Bronxville, N.Y., on Tuesday with respiratory problems and he appeared fragile.
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Born William Anthony Colón Román on April 28, 1950, to Puerto Rican parents in New York City, Colón first picked up the trumpet in school. It seemed like a natural choice for the former bugle-playing Boy Scout, who attended the youth program at the suggestion of his grandmother.
“So I could learn how to be a good boy,” said Colón in a 1988 interview with Associated Press.
By age 13, Colón had started a band and played at some weddings and in the bustling nightclubs of New York City. At one point, he forged a cabaret card, a mandated ID for musicians and entertainers between 1940 and 1967 who worked in establishments serving alcohol, which required individuals to be 18 years and older.
The thrilling 1960s Latin music scene in New York consumed Colón, who was deeply inspired by Latin jazz pioneer and bandleader Eddie Palmieri, once part of a main act at the Palladium Ballroom who went on to form La Perfecta, a Cuban conjunto that revolutionized the New York Latin music scene with its inclusion of two trombones, played by Barry Rogers and Jose Rodriguez, instead of the costly four-set trumpets.
But Colón’s instrumental preference changed once he heard the bodied timbre of Mon Rivera’s all-trombone brass lineup marching to a bomba beat. “It would knock my socks off,” said Colón in a 1988 interview with Associated Press, leading the singer to teach himself how to play the instrument.
By age 15, Colón was signed to Fania Records. Two years later at age 17, he went on to release his debut album, “El Malo,” a record that defined the fierce sounds of New York’s salsa scene, which Colón later described as the Latin equivalent of rap.
According to his former label, the name of “El Malo” was bestowed upon Colón by older musicians who sought to mock his trombone range at the time, though the young bandleader would find a way to use the label to his advantage.
On the LP, Colón’s sound moved away from the polished mambo sounds of orchestral bands decades prior, in large part due to Puerto Rican singer Héctor Lavoe, whose vocals can be heard in tracks like the gritty “El Malo” that vows to knock out any wanna-be street phony.
The pair would go on to record a total of 14 albums through 1973, with Lavoe’s talents for improvisation complementing Colón’s raw, aggressive trombone.
“Salsa came from the same kind of situation that rap does,” Colon said in a 1992 interview with The Times. “It was kind of a hybrid of a bunch of different elements. Hector had just come from Puerto Rico and didn’t speak English. I didn’t speak much Spanish, I was a little New York kid. We got together and just started with the same kind of irreverent, rebellious attitude, writing songs about the baddest guy on the block, drugs and sex. Before that, the lyrics and whole attitude of Latin music was, ‘Look at me dance, listen to those drums, I’m cutting sugar cane.’ It was a rural, folkloric emphasis; we changed it to an inner-city kind of culture.”
Colón’s impact went beyond live music. The album cover of “El Malo,” which showed two serious profiles of Colón, depicted the singer as a sly bad boy, and ultimately gave rise to his gangster persona, which would be a throughline in future projects, including his sophomore 1968 album, “The Hustler” which featured the band with fitted suits, smoking cigars and placing bets in a pool hall. His 1970 album “Cosa Nuestra” featured Colón smoking a cigar while overlooking a dead body in broad daylight in Manhattan’s East River Bikeway. Most famously, his 1971 album, “La Gran Fuga,” depicted the singer on a fake FBI “Most Wanted” poster.
These mob-like depictions occurred long before cult-favorite films like Francis Ford Coppola’s 1972 “The Godfather” and Brian De Palma 1983’s “Scarface” became the prominent gangster storylines various male acts venerate in their music.
By 1973, Colón and Lavoe split — allegedly due to Lavoe’s drug addiction leading to many missed concert performances — although the two would remain frequent collaborators until the latter’s death in 1993 due to complications of AIDS.
The Nuyorican musician would introduce Blades as the new singer of his orchestra, whom he had met years prior while visiting Panama during carnivals. They collaborated briefly on Colón’s 1975 LP “The Good, the Bad, the Ugly,” cementing their partnership in the 1977 album “Metiendo Mano,” which delved into socio-political themes, notably in their track “Pablo Pueblo,” which shares the story of a working class man with broken dreams halted by toils of daily life. Other tracks like “Plantación Adentro,” detailed the story of Camilo Manrique, a fictionalized enslaved character who died at the hands of a Spanish colonizer in 1745.
Many considered this album Colón’s first foray into intellectual salsa — in large part because of Blades, who had a knack for storytelling and political interests (he unsuccessfully ran for president of Panama in 1994) — that addressed colonialism and class disparities. Together they released three albums, including their 1978 “Siembra,” one of the bestselling salsa albums at that time; from the start, their track “Plastico” fused the popular disco music of the moment while addressing superficial beauty standards and colorism in Latin America.
According to 1996 reporting by The Times, “Siembra” delivered pulsating salsa rhythms that “carried messages of freedom at a time when most of Latin America was oppressed by military dictatorships.”
By 1982, Blades and Colón parted ways, but they collaborated again on projects like their 2005 LP “Tras La Tormenta” — which led the bandleader to sing for the first time in his career, “I had to start from zero, and it took me many years to feel comfortable,” Colón said.
This newfound independence gave rise to some of Colón’s most famous songs, including his 1995 track “Talento de Televisión,” an upbeat song with his signature trombone wailing in the backdrop as he sang about an attractive woman with a lack of talent.
Many across Latin America might be familiar with his 1989 song “El Gran Varon” — which narrated the story of a trans woman who is rejected by her father and presumably dies of AIDS — a landmark salsa song that brought awareness to LGBTQ+ themes during the AIDS crisis. Colón would later serve as a member of the Latino Commission on AIDS. “El Gran Varon” is an anthem to this day.
Colón released more than 40 albums in all.
He also acted, taking roles in films including 1982’s “Vigilante,” the 1983 sports drama “The Last Fight,” as well as one-episode stints in TV shows like “Miami Vice” and “The Cosby Show.” He was even featured in Bad Bunny’s “Nuevayol” music video, cutting a slice of cake; the 31-year-old superstar pays homage to the singer in its lyrics: “Willie Colón, me dicen el malo, ey. Porque pasan los años y sigo dando palo”/ “Willie Colón, they say I’m bad, because the years come and I’m still hitting.”
In his later years, he became more involved in politics. In 1994, he unsuccessfully went up against U.S. Rep. Eliot Engel of the Bronx in the Democratic primary. He also ran as a Democrat for Public Advocate in 2001, focusing on community issues, education and AIDS awareness, but failed to gain the popular vote. In 2008, he endorsed Hillary Rodham Clinton over Barack Obama in the primary election.
On May 26, 2014, after graduating from Westchester County Police Academy, Colón was sworn in as a deputy sheriff for the Department of Public Safety, later becoming deputy lieutenant.
As President Trump took office in his first term, Colón’s politics shifted in support of the right-wing candidate, and he said he would be open to performing at his inauguration in 2017.
Welcome to Screen Gab, the newsletter for everyone who is feeling mighty nostalgic about the ’90s and early aughts.
On Thursday night, we learned that Eric Dane died at 53 after a battle with ALS, also known as amyotrophic lateral sclerosis or Lou Gehrig’s disease. The actor was known for his mid-2000s role on ABC’s medical drama “Grey’s Anatomy,” where he earned the moniker “McSteamy” as Dr. Mark Sloan, a plastic surgeon. Coincidentally, yesterday marked the 20th anniversary of his first appearance on “Grey’s.” More recently, he appeared in HBO’s teen drama “Euphoria” as Cal Jacobs, a very complex father to Nate (Jacob Elordi), one of the central characters. The actor will appear posthumously in the show’s third season when it returns in April. Dane remained busy in the past couple of years, having also appeared in the one-season action series “Countdown” on Prime Video and in an episode of ABC’s “Brilliant Minds.” If you want to go further on Dane, Netflix announced this morning that an episode of the docuseries “Famous Last Words” featuring the actor was available. The show consists of an interview with a notable subject, and is only released posthumously.
If you want another trip down memory lane, last week saw the arrival of FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette,” which takes a closer look at the famous couple who unexpectedly met a tragic end. The show fully immerses you in the culture of New York in the ’90s, complete with Calvin Klein ads, tabloid magazines with zany headlines and partying at the Roxy nightclub. Connor Hines, the creator of “Love Story,” spoke to us about the show, which you can read below.
Also in this week’s Screen Gab, we recommend an Irish series on Netflix from the creator of “Derry Girls” and another nostalgic docuseries about “America’s Next Top Model.”
ICYMI
Must-read stories you might have missed
Grace Van Patten and Jackson White of “Tell Me Lies” at American Quick Start & Gas Inc. in Brooklyn, N.Y.
Recommendations from the film and TV experts at The Times
Bronagh Gallagher, back left, as Booker, Shauna Bray as Midwife, Saoirse-Monica Jackson as Feeney in “How To Get To Heaven From Belfast.”
(Christopher Barr / Netflix)
“How to Get to Heaven From Belfast” (Netflix)
Lisa McGee, whose “Derry Girls” was the toast of 2018, returns with another comedy of Irish women in a mad place. Three friends since school travel to a one-taxi, one-hotel town for the wake of an estranged fourth: Saoirse (Roisin Gallagher), an award-winning television writer who can’t seem to keep her engagement ring on her finger; Robyn (Sinéad Keenan), a busy, bored rich wife and mother; and Dara (Caoilfhionn Dunne), who has been stuck, or has stuck herself, caring for her mother. All share a dark secret they hope to keep buried, but which has begun to poke its head above ground. What, and who, they find, and don’t find, kicks off a manic mystery, served with a side of car trouble, hangovers, a storm, a blackout, oddball supporting characters and a little romance, not necessarily in that order, with sharp, funny dialogue driving it along. And that’s just the beginning. — Robert Lloyd
A still of “America’s Next Top Model” contestants, clockwise from far left, Nicole Panattoni, Adrianne Curry, Elyse Sewell, Kesse Wallace, Robbyne Manning, Giselle Samson, Shannon Stewart and Ebony Haith as featured in “Reality Check: Inside America’s Next Top Model.”
(Courtesy of Netflix)
“Reality Check: America’s Next Top Model” (Netflix)
“We were all rooting for you!” was the cry heard ‘round the world from Tyra Banks, the host and creator of the reality TV series that aimed to find the next fresh face of magazine covers and fashion runways. But viewers learn in this docuseries that what we saw on screen didn’t tell the whole story. From allegations of sexual assault to discord among the judges, “America’s Next Top Model” had a lot of problems, many of them relating to the fact that a show like it hadn’t been done and producers were inexperienced in handling serious issues on set. “Reality Check” features candid interviews with former contestants including Shandi Sullivan, Keenyah Hill, Tiffany Richardson (recipient of that famous “rooting” speech) and Banks herself. — Maira Garcia
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Sarah Pidgeon as Carolyn Bessette Kennedy and Paul Kelly as John F. Kennedy Jr. in “Love Story: John F. Kennedy Jr. & Carolyn Bessette.”
(FX)
The latest anthology series produced by Ryan Murphy dramatizes the true-life romance between John F. Kennedy Jr. and Carolyn Bessette that gripped the culture in the ’90s. Nearly three decades after their tragic deaths, FX’s “Love Story” revisits the tumultuous seven-year relationship between the pair. JFK Jr. (Paul Anthony Kelly) spent his life navigating the public spotlight as the son and namesake of an assassinated (and beloved) president, and Bessette (Sarah Pidgeon) was a publicist working at Calvin Klein. Inspired by Elizabeth Beller’s book “One Upon a Time: The Captivating Life of Carolyn Bessette-Kennedy,” the nine-episode series chronicles the couple’s whirlwind romance and their struggle to maintain their relationship under intense media scrutiny before their deaths in a 1999 plane crash. The first four episodes are streaming now on Hulu and Disney+, with new episodes released weekly on Thursdays. Connor Hines, who created the series, stopped by Guest Spot to discuss what intrigued him about the couple’s plight and the early aughts rom-com that he admires. — Yvonne Villarreal
You were a child when the love story of John F. Kennedy Jr. and Carolyn Bessette — as well as that fateful flight — generated intense media attention. What do you remember about their story? What stood out then?
My father commuted into Manhattan every day for work and always brought home the New York Post. I have vivid memories of seeing photos of them splashed across the cover. I knew about the Kennedy family, of course, but I couldn’t fully grasp the choke hold John F. Kennedy Jr. had on the country at the time. The scale of the fascination was something I only truly understood later.
Why does this story feel worth revisiting now? And did any modern couples in the spotlight become reference points as you unpacked questions about public fascination while weaving together this story?
We’re living in an attention economy, so a couple beset by obsession and scrutiny feels especially resonant right now. There are, unfortunately, far too many examples of women who marry high-profile figures only to be harangued for expressing anything other than gratitude and graciousness. That dynamic hasn’t disappeared — it’s simply evolved.
The series grapples with the media invasion that swirled around them. Some critics contend that dramatizing their story for television reignites it. How do you see it? And how did that inform your approach to telling this story?
They’ve been memorialized as these beautiful, one-dimensional fashion figures whose marriage buckled under immense pressure. The series felt like an opportunity to course-correct a dated and misogynistic narrative, especially surrounding Carolyn — and to add dimension to two people who were far more complex than the images and tabloid stories written about them.
You seemingly had a lot of material to draw from and public moments in their relationship timeline to focus on. What was a moment that most fascinated you?
I was personally drawn to Carolyn’s rich life before she became a public figure. She was incredibly sharp, savvy and dynamic — she ascended from folding sweaters at a Calvin Klein store in the mall to becoming a muse and trusted advisor to Calvin Klein himself. I don’t think people fully appreciate how much she gave up to be with John.
What have you watched recently that you are recommending to everyone you know?
“Dying for Sex” [Hulu, Disney+]. “Adolescence” [Netflix].
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
“Something’s Gotta Give” [Tubi], or anything by Nora Ephron. I’m also an unapologetic champion of the Bravo network.
Trixie responds: “She thinks you’re old because you’re bald, Woody!”
The moment didn’t go unnoticed as one viewer commented: “If he is getting old, what does that mean about me?”
Another person said on X: “There was absolutely no reason to give Woody a bald spot.”
Somebody else commented: “Sad to see Woody is going bald.”
Yet another penned: “Woody having a lil bald spot is making me sad.”
While a fifth added: “It’s okay Woody. We all understand and sympathise. I too have a bald spot back there that is slowly turning into a tropical hurricane.”
The synopsis of the film reads: “The toys are back and this time, Buzz Lightyear, Woody, Jessie and the rest of the gang’s jobs are challenged when they come face-to-face with Lilypad (voice of Greta Lee), a brand-new tablet device that arrives with her own disruptive ideas about what is best for their kid, Bonnie. Will playtime ever be the same?”
The fifth film was first announced back in 2023 along with sequels for Frozen and Zootopia.
Disney’s CEO, Bob Iger expressed: “I’m so pleased to announce that we have sequels in the works from our animation studios to some of our most popular franchises – Toy Story, Frozen and Zootopia.
“We’ll have more to share about these productions soon, but this is a great example of how we’re leaning into our unrivalled brands and franchises.”
Several stars from the first films are back, including Tom Hanks as Woody, Tim Allen as Buzz, John Ratzenberger as Hamm, Wallace Shawn as Rex, Blake Clark as Slinky Dog, Annie Potts as Bo Peep and Joan Cusack as Jessie.
Among the newcomers are Scarlett Spears as the new voice of Bonnie, Craig Robinson as GPS hippo toy Atlas, Shelby Rabara as excitable camera toy Snappy, Mykal-Michelle Harris as Blaze, Conan O’Brien as Smarty Pants, and Matty Matheson as tech-fearing toy Dr Nutcase.
The first Pixar film released back in 1995, followed by Toy Story 2 in 1999 and Toy Story 3 in 2010.
The fourth instalment came out in 2010 and a spin-off of Buzz Lightyear’s character was released in 2022.
Toy Story 5 releases in cinemas on June 19
The gang are back yet again for even more mischiefCredit: Alamy
Writer-curator Ekow Eshun is among the biography finalists for “The Strangers: Five Extraordinary Black Men and the Worlds That Made Them,” which parses Black masculinity as embodied by various civil rights activists, philosophers and other visionaries. Contenders in the fiction categories ranged from seasoned novelists like Michael Connelly to breakouts including Saou Ichikawa, whose debut novel, “Hunchback,” was longlisted for the 2025 International Booker Prize.
Many selected books evoke the greatest anxieties of our time, from government-sanctioned historical revisionism to the ongoing proliferation of AI.
“The Joy Luck Club” author Amy Tan will be honored with this year’s Robert Kirsch Award for lifetime achievement. Nonprofit We Need Diverse Books and novelist Adam Ross will receive the Innovator’s Award and Christopher Isherwood Prize for Autobiographical Prose, respectively.
Winners in the remaining categories will be revealed at the 46th L.A. Times Book Prizes on April 17 at USC’s Bovard Auditorium. The ceremony is a prelude to the annual L.A. Times Festival of Books, which this year runs April 18-19.
The Oakland-born Tan will be given the marquee Robert Kirsch Award, which celebrates literature with regional and thematic connections to the Western United States, for her highly awarded body of work exploring multicultural identity and its complex effects on familial bonds.
“Throughout her extraordinary career, Amy Tan has transformed American literature by shining a light on the emotional complexities of family, identity and cultural inheritance,” said Times senior editor for Books Sophia Kercher. “Her work confronts the social and cultural legacies of the American West with rich details of the immigrant experience.”
Tan’s 1989 debut novel, “The Joy Luck Club,” which interweaves the stories of four Chinese immigrant mothers and their American-born daughters in San Francisco, is a staple of the modern literary canon and was previously a finalist for the National Book Award and the National Book Critics Circle Award. “The Joy Luck Club,” along with the essays, memoirs and novels Tan has since penned — most recently 2024’s “The Backyard Bird Chronicles” — have also led her to be inducted into the American Academy of Arts and Letters and earned her a National Humanities Medal from President Biden.
We Need Diverse Books, a viral 2014 Twitter campaign turned nonprofit, is being honored with the Innovator’s Award for its efforts toward promoting diversity and inclusion in children’s and young adult publishing.
According to the WNDB website, upon the nonprofit’s launch more than a decade ago, only 8% of children’s books published in the U.S. were written by authors of color. In 2023, that figure rose to 47%, in no small part due to WNDB’s grants, library partnerships and other advocacy work, per the Cooperative Children’s Book Center at the University of Wisconsin-Madison.
“We Need Diverse Books has played an important role in publishing by championing stories that reflect our world, and opening doors for writers and readers,” said Times Executive Editor Terry Tang. “We are thrilled to recognize them with this year’s Innovator’s Award, honoring their unwavering commitment to access and representation in literature.”
Ross rounds out the L.A. Times Book Prize honorees as the winner of the Christopher Isherwood Prize for “Playworld,” a semi-autobiographical novel about a teen growing up in 1980s New York that is described as “less a bildungsroman than a story of miseducation.”
In addition to the achievement awards, the Book Prizes recognize titles in 13 categories: audiobooks, autobiographical prose (the Christopher Isherwood Prize), biography, current interest, fiction, first fiction (the Art Seidenbaum Award), graphic novel/comics, history, mystery/thriller, poetry, science fiction, science and technology and young adult literature. Each category’s finalists and winners are chosen by panels of writers specializing in that genre.
For more information about the Book Prizes, including the complete list of finalists, visit latimes.com/BookPrizes.
Robert Kirsch Award
Amy Tan
Innovator’s Award
We Need Diverse Books
The Christopher Isherwood Prize for Autobiographical Prose
Adam Ross, “Playworld: A Novel”
The Art Seidenbaum Award for First Fiction
Andy Anderegg, “Plum”
Krystelle Bamford, “Idle Grounds: A Novel”
Addie E. Citchens, “Dominion: A Novel”
Justin Haynes, “Ibis: A Novel”
Saou Ichikawa translated by Polly Barton, “Hunchback: A Novel”
Achievement in Audiobook Production, presented by Audible
Molly Jong-Fast (narrator), Matie Argiropoulos (producer); “How to Lose Your Mother”
Jason Mott, Ronald Peet, and JD Jackson (narrators), Diane McKiernan (producer); “People Like Us: A Novel”
James Aaron Oh (narrator), Linda Korn (producer); “The Emperor of Gladness: A Novel”
Imani Perry (narrator), Suzanne Mitchell (producer); “Black in Blues”
Maggi-Meg Reed, Jane Oppenheimer, Carly Robins, Jeff Ebner, David Pittu, Chris Andrew Ciulla, Mark Bramhall, Petrea Burchard, Robert Petkoff, Kimberly Farr, Cerris Morgan-Moyer, Peter Ganim, Jade Wheeler, Steve West, and Jim Seybert (narrators), Kelly Gildea (producer); “The Correspondent: A Novel”
Biography
Joe Dunthorne, “Children of Radium: A Buried Inheritance”
Ekow Eshun, “The Strangers: Five Extraordinary Black Men and the Worlds That Made Them”
Ruth Franklin, “The Many Lives of Anne Frank”
Beth Macy, “Paper Girl: A Memoir of Home and Family in a Fractured America”
Amanda Vaill, “Pride and Pleasure: The Schuyler Sisters in an Age of Revolution”
Current Interest
Jeanne Carstensen, “A Greek Tragedy: One Day, a Deadly Shipwreck, and the Human Cost of the Refugee Crisis”
Stefan Fatsis, “Unabridged: The Thrill of (and Threat to) the Modern Dictionary”
Brian Goldstone, “There Is No Place for Us: Working and Homeless in America”
Gardiner Harris, “No More Tears: The Dark Secrets of Johnson & Johnson”
Jordan Thomas, “When It All Burns: Fighting Fire in a Transformed World”
Fiction
Tod Goldberg, “Only Way Out: A Novel”
Stephen Graham Jones, “The Buffalo Hunter Hunter”
Mia McKenzie, “These Heathens: A Novel”
Andrés Felipe Solano translated by Will Vanderhyden, “Gloria: A Novel”
Bryan Washington, “Palaver: A Novel”
Graphic Novel/Comics
Eagle Valiant Brosi, “Black Cohosh”
Jaime Hernandez, “Life Drawing: A Love and Rockets Collection”
Michael D. Kennedy, “Milk White Steed”
Lee Lai, “Cannon”
Carol Tyler, “The Ephemerata: Shaping the Exquisite Nature of Grief”
History
Char Adams, “Black-Owned: The Revolutionary Life of the Black Bookstore”
Bench Ansfield, “Born in Flames: The Business of Arson and the Remaking of the American City”
Jennifer Clapp, “Titans of Industrial Agriculture: How a Few Giant Corporations Came to Dominate the Farm Sector and Why It Matters”
Eli Erlick, “Before Gender: Lost Stories from Trans History, 1850-1950”
Aaron G. Fountain Jr., “High School Students Unite!: Teen Activism, Education Reform, and FBI Surveillance in Postwar America”
Mystery/Thriller
Megan Abbott, “El Dorado Drive”
Ace Atkins, “Everybody Wants to Rule the World: A Novel”
Lou Berney, “Crooks: A Novel About Crime and Family”
Michael Connelly, “The Proving Ground: A Lincoln Lawyer Novel”
S.A. Cosby, “King of Ashes: A Novel”
Poetry
Gabrielle Calvocoressi, “The New Economy”
Chet’la Sebree, “Blue Opening: Poems”
Richard Siken, “I Do Know Some Things”
Devon Walker-Figueroa, “Lazarus Species: Poems”
Allison Benis White, “A Magnificent Loneliness”
Science Fiction, Fantasy & Speculative Fiction
Stephen Graham Jones, “The Buffalo Hunter Hunter”
Jordan Kurella, “The Death of Mountains”
Nnedi Okorafor, “Death of the Author: A Novel”
Adam Oyebanji, “Esperance”
Silvia Park, “Luminous: A Novel”
Science & Technology
Mariah Blake, “They Poisoned the World: Life and Death in the Age of Forever Chemicals”
Peter Brannen, “The Story of CO2 Is the Story of Everything: How Carbon Dioxide Made Our World”
Karen Hao, “Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI”
Laura Poppick, “Strata: Stories from Deep Time”
Jordan Thomas, “When It All Burns: Fighting Fire in a Transformed World”
