In any given year there are more than 500,000 American boys playing on almost 20,000 high school basketball teams, and fewer than 2% of them will make it to March Madness. Only 60 young men get drafted by an NBA team each summer, and in the most recent draft a third of those spots went to international players.
The numbers suggest the funnel from the Amateur Athletic Union into the NBA is one of the narrowest in all of sports. And we used to talk about the game with the reverence that exclusivity implies. The numbers are how we decide who is an All Star or a Hall of Famer. The numbers are how we determine — or debate — the greatest.
Gambling and cheating scandals are not the only threats to sports. Because of the economic gravity of fantasy sports leagues and legal gambling, the numbers most of us hear about these days have more to do with bettors making money than with players making shots.
Bill James — the godfather of baseball analytics, who coined the phrase sabermetric in the late 1970s — did not revolutionize the way the sports industry looked at data so we could have more prop bets. The first fantasy baseball league was not started in a New York restaurant back in 1980 to beat Las Vegas. The numbers were initially about the love of the game. But ever since sports media personalities decided to embrace faux debates for ratings — at the expense of pure fandom — disingenuous hot takes have set programming agendas, and the numbers that used to tell us something about players are cynically used to win vacuous arguments. And after states began to legalize sports betting, athletes went from being the focus to being props for parlays.
That’s not to say gambling wasn’t there before. In fact, while James and others were revolutionizing the way fans — and front offices — evaluated players, the Boston College point-shaving scandal was unfolding in the shadows. The current gambling scandal surrounding Portland Trail Blazers head coach Chauncey Billups, who this week pleaded not guilty to charges alleging a role in a poker-fixing scheme, is not unprecedented. It’s just recent.
What’s new is how we talk about the numbers.
The whole idea of fantasy sports leagues was to enable fans to be their own general managers — not to make money, but because we cared about the game so much. At the risk of sounding more pious than I am: When every game, every half, every quarter and even every shot is attached to gambling odds, good old-fashioned storytelling gets choked out. Instead of learning about players and using numbers to describe them, we hear numbers the way private equity firms see a target’s holdings.
Nothing personal, just the data.
The whole point about loving sports used to be that it was personal. Our favorite players weren’t just about outcomes. They were 1 out of 500,000 guys who made it. Each had a backstory, and the way they got there was a big part of the connection we felt with them.
This is why the Billups saga hits the NBA community emotionally. Drafted in 1997, the Colorado native played for four teams in his first five years before becoming an All Star and a Finals MVP. His numbers aren’t what defined him — even though those numbers were good enough to get him into the Hall of Fame. It was the resilience and character he demonstrated while trying to make it that fans admired. In his early-career struggles, we were reminded that making it in the NBA is hard and that everyone in the league beat the odds. It’s something we all know … but when broadcasters come out of commercial breaks showing the betting lines before the score, it’s easy to forget.
Thanksgiving is a big sports weekend and thus gambling weekend. Go ahead, eat irresponsibly … it’s the other vice that worries me.
With Thanksgiving in the rearview mirror we are now hurtling toward Christmas, Hanukkah, Kwanzaa and the New Year. December can bring stress, but it also brings the feel-good holiday shows, including “Tinselcolor,” which opens Dec. 2 at CineVita, a 15,000-square-foot double-decker Belgian spiegeltent operated by For the Record, which stages live musical revues of well-known film soundtracks.
Joey McIntyre — the youngest member of the ultra ‘90s boy band, New Kids on the Block — signed on as host of the candy-colored world-premiere extravaganza, which features an eight-piece band and 14 singers performing holiday movie music from 25 film scores including “Home Alone,” “National Lampoon’s Christmas Vacation” and “White Christmas.”
For the Record has been putting on shows for more than 15 years, starting in a small bar and restaurant in Los Feliz and moving up to bigger venues leading to CineVita. Over the years, the company became known for attracting celebrity clientele. Quentin Tarantino and Rosario Dawson attended a performance based on Tarantino’s film scores, and Demi Moore’s daughter, Rumer Willis, once joined the troupe. Moore is now an investor.
In an email, McIntyre wrote that he saw the Tarantino show years ago and loved it.
“I knew the caliber of talent and production that this company puts up, and then I stepped foot into this unparalleled space and almost verbatim said ‘sign me up,’” he wrote. “I’m a theater kid. The venue was like Jessica Rabbit calling me in.”
The unparalleled space McIntyre is referring to contains 3,000 hand-beveled mirrors, hand-cut stained glass windows and carved wood ornamentation. It will be decorated with outsized holiday flair for “Tinselcolor,” but it will also feel cozy.
“The theater holds about 700, but it is so warm and intimate, like you’re in my living room for the holidays,” McIntyre wrote. “Our guests are going to feel that. Our director, Anderson Davis, and the creative team have been super open to making it feel authentic to me and showcasing what I bring to the table.”
Performers joining McIntyre onstage include Brian Justin Crum, who recently played the role of Annas alongside Cynthia Erivo and Adam Lambert in the Hollywood Bowl’s electrifying “Jesus Christ Superstar”; Vintage Trouble frontman Ty Taylor; Cheyenne Isabel Wells, who starred in “Grease: Rise of the Pink Ladies” on Paramount+; and Dionne Gipson from “Found” on NBC and “Haus of Vicious” on BET.
McIntyre noted that he gets to sing the Andy Williams classic, “It’s the Most Wonderful Time of the Year” in full holiday regalia. His favorite holiday movie song of all time, however, is not in the show. That would be “A Brand New Christmas,” which he co-wrote for last year’s Roku Original “Jingle Bell Love.”
His favorite Christmas carol of all time? “O Holy Night.”
“It sits right in my wheelhouse vocally, and it checks all the boxes: heartfelt, classic melody with a pop bluesy accessibility. And you get to ‘fall on your knees’ when you’re performing it,” he wrote.
“Tinselcolor” runs through Dec. 30. After that, McIntyre will head back to Las Vegas to continue the New Kids on the Block residency at Dolby Live at Park MGM, which was extended through 2026 due to high demand.
“We just announced 3 more stints for 2026. We are a blessed bunch of guys. We’ve been able to keep it fresh and exciting over all these years, and the fact that we still had Vegas on the table was something we have really taken advantage of,” McIntyre wrote about the residency. “Our diehards are genuinely blown away, and Vegas is yet another hook for folks who haven’t seen us in a while. And those newbies are loving it too. It feels like a slam dunk all around.”
I’m arts and culture writer Jessica Gelt wishing you a very happy holiday season filled with love, kindness, health and hope. Here’s your arts and culture news for the week.
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Clockwise from bottom left: Grand Kiev Ballet, American Ballet Theatre and Inland Pacific Ballet.
(Los Angeles Times photo collage; illustrations by Katie Smith / For The Times; photographs from Grand Kyiv Ballet, Cheryl Mann and Marsha McNeely Photography)
Nutcracker roundup The season of Sugar Plum Fairies is upon us. In last weekend’s holiday preview, Ashley Lee did the legwork gathering intel on productions of the holiday perennial that will be dancing their way across Southern California stages in the coming weeks. From downtown L.A. to the South Bay, Orange County and the Inland Empire, the variety of imaginative interpretations offer something for almost everybody. This week alone sees the openings of Anaheim Ballet’s “Nutcracker” (Friday and Saturday. City National Grove of Anaheim, 2200 E. Katella Ave. anaheimballet.org); American Contemporary Ballet’s “The Nutcracker Suite” (Saturday through Dec. 24. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com); “Bob Baker’s Nutcracker,” a marionette version of the show (Saturday through Jan. 4. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org); and Debbie Allen Dance Academy’s “The Hot Chocolate Nutcracker,” which subs Mariah Carey and other contemporary artists for Tchaikovsky (Thursday through Dec. 14. Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. debbieallendanceacademy.com).
What the Dickens!
The cast of “A Christmas Carol” at A Noise Within.
(Craig Schwartz)
Like “The Nutcracker,” the holidays are heavy with varied interpretations of Charles Dickens’ “A Christmas Carol.” Friday night in Anaheim, Chance Theater opens Leslie Bricusse’s “Scrooge! The Musical” (Through Dec. 21. Bette Aitken Theater Arts Center, 5522 E. La Palma Ave. chancetheater.com). Saturday night, two long-standing productions of “A Christmas Carol” make their traditional returns. In Pasadena, Geoff Elliott (who also adapted and co-directs with Julia Rodriguez-Elliott) once again steps into Ebenezer’s slippers for a night of ghostly visitations (Through Dec. 4. A Noise Within, 3352 E. Foothill Blvd. anoisewithin.org).
Richard Doyle in “A Christmas Carol” at South Coast Repertory.
(Robert Huskey)
Meanwhile, down in Orange County, South Coast Repertory celebrates the 45th anniversary of resident dramaturg Jerry Patch’s adaptation (Through Dec. 28. Emmes/Benson Theatre Center, 655 Town Center Drive, Costa Mesa. scr.org). And on Dec. 5, Independent Shakespeare Co.‘s David Melville plays not Scrooge, but the author himself in “A Christmas Carol With Charles Dickens,” a solo storytelling tour-de-force (Through Dec. 22. ISC Studio, Atwater Crossing, 3191 Casitas Ave., Suite 130, Atwater Village. iscla.org).
The week ahead: A curated calendar
FRIDAY Heisenberg Paul Eiding and Juls Hoover star in Simon Stephens’ drama about a middle-woman and an older man who meet in a London railway station. Directed by Cameron Watson. 8 p.m. Friday and Saturday; 2 p.m. Sunday, through Dec. 22. Additional show 8 p.m. Dec. 18. Skylight Theatre, 1816 1/2 N. Vermont Ave., Los Feliz. skylighttheatre.org
SATURDAY
Artist Drew Struzan signs his Oscar poster in 2008.
(Mark Mainz / Getty Images)
Drew Struzan Tribute The American Cinematheque salutes the artist, illustrator and designer who died in October with a triple-feature of films for which he designed the posters: “Back to the Future,” “The Goonies” and “E.T.” Struzan also designed iconic one-sheets for such films as “Star Wars,” “Raiders of the Lost Ark” and “Blade Runner.” 11 a.m. Saturday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
TUESDAY
Tom Morello at South by Southwest in Austin in 2025.
(Jack Plunkett / Invision / Associated Press)
The REVOLUTION(S) will be Amplified Musician/activist Tom Morello joins curator Douglas Fogle for a discussion about art, activism, creativity and resistance on the occasion of the exhibition “Corita Kent: The Sorcery of Images.” 7 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org
THURSDAY Children of the Winter Kingdom Orphaned twins escape a circus and encounter a king and his dragon, a wild girl, a crow, a sorceress and an ice spider in a holiday adventure filled with music and puppetry. Written by Adam Dugas & Mary Eileen O’Donnell, directed by Adam Dugas. 8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through Dec. 20. The Actors’ Gang at the Ivy Substation, 9070 Venice Blvd., Culver City. theactorsgang.com
‘Die Heart’ Yippee-ki-yay, Heart lovers! Troubadour Theater Co. revives its holiday musical-comedy synergism of the 1988 Bruce Willis action movie “Die Hard” with the songs of the Wilson sisters. Don’t even think about asking if it’s really a Christmas movie. Dec. 4 to 21. Colony Theatre, 555 N. Third St., Burbank. troubie.com
A scene from “Putney Swope,” directed by Robert Downey Sr.
(Cinema 5 / Photofest)
Putney Swope The Academy Museum’s celebration of film preservation kicks off with the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 social satire. 7:30 p.m. Thursday Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Tchaikovsky’s Swan Lake The Pacific Symphony and pianist Alexandra Dariescu, conducted by Tianyi Liu, perform works by Cassandra Miller, Maurice Ravel and Pyotr Ilyich Tchaikovsky. 8 p.m. Thursday, Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa. scfta.org/events
Dispatch: The Butterfly Effect
Liviera Lim as Vivian Fang in “The Butterfly Effect.”
(Charly Charney Cohen)
Young local theater troupe Last Call Theater specializes in interactive, participatory productions, and its latest, “The Butterfly Effect,” is an intimate affair that encourages one-to-one and small group pairings with actors. The show examines past choices and the consequences of changing them. There’s a fantastical bent, as it’s set in a cafe that promises the ability to time travel. The decade-hopping coffee shop backdrop gives the company a chance to play with multiple storylines that touch on L.A. history, from immigrant tales of a family-run business to those often overlooked by our city’s emphasis on celebrity. The production, which opened in mid-November, runs Thursday through Saturday at Stella Coffee and closes Dec 6. ticketleap.events — Todd Martens
Culture news and the SoCal scene
Robert Therrien‘s “No title (red chapel relief),” 1991, enamel on paper and wood.
(Christopher Knight / Los Angeles Times)
A place at the (big) table If you’ve ever visited the Broad, you’re quite familiar with the large table and chairs in its permanent collection that dwarf even the tallest viewer. Times art critic Christopher Knight (who is retiring as of today) calls the Broad’s new exhibition, “Robert Therrien: This Is a Story,” a “smashing retrospective” and one of the year’s best museum solo shows. Therrien, who died at 71 in 2019, was a unique talent who sits comfortably among the most significant L.A. artists since the ‘60s and ‘70s. “Whether he was making a 3D sculpture to stand on the floor, a 2D painting to hang on the wall, or a 3D sculpture attached to a wall like an ancient frieze,” writes Knight, “he managed the same uncanny result — objects where the purely visual and the utterly physical demand equal time.”
Maya Keleher in the national tour of the musical “Suffs.”
(Joan Marcus)
Suffragette City An all-female and nonbinary cast dramatizes the inspiring story of American women fighting for the right to vote in the musical “Suffs,” playing at the Hollywood Pantages through Dec. 7. Shaina Taub won Tony Awards for its book and score, while also starring as suffragette leader Alice Paul in the Broadway run. In L.A., the national tour’s Maya Keleher “lends alluring warmth to the role,” writes Times theater critic Charles McNulty in his review. “The teamwork of the performers honors the messy yet undeniably effective cooperation of Alice and her freedom fighters — women who changed the world by not staying silent in their prescribed place.”
Viola time Times music critic Mark Swed noted a recent “fall-harvesting viola bandwagon,” with multiple ensembles spotlighting the humble middle child of stringed instruments played with a bow. “The L.A. Phil began viola week with a Tuesday evening program, ‘Brahms Strings,’ as part of the orchestra’s chamber music series at Walt Disney Concert Hall that included the blazing early First Sextet and late, luminously serene Second Quintet,” wrote Swed. “As part of its chamber music series across the street in the Colburn School’s Zipper Hall, Saturday, [the Los Angeles Chamber Orchestra] coincidentally held ‘A Brahmsian Affair,’ in this case featuring both the sextets.” On Saturday, recent Colburn graduate Lan Cao and current conservatory student Ran Tae performed Korean composer Isang Yun’s 1988 “Contemplation,” for two violas, “played with gripping meditative intensity” during a day-long MOCA seminar on South Korean artist Haegue Yang.
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Ray Ushikubo will play a rare 1741 Guarneri “del Gesù” violin at a free concert at the Colburn School on Dec. 3.
(Robert Gauthier / Los Angeles Times)
History in his hands Ray Ushikubo of San Gabriel, a 24-year-old virtuoso musician, has been selected to play the Playfair violin, an ultra-rare model crafted by the famed luthier Guarneri “del Gesù.” “I’m only 24,” Ushikubo told reporter Emma Madden. “This instrument is from 1741. It’s older than the United States. I can barely comprehend that amount of history. But mostly I feel happiness. And honor. It sounds better than any violin that’s ever been made.” The musician will debut the instrument in a free concert at the Colburn School’s Zipper Hall on Dec. 3.
East L.A. Youth Orchestra gets a reprieve “After recently announcing major cuts to its youth orchestra, the L.A. Phil has secured additional donor funding to ensure the East L.A. branch of the Youth Orchestra Los Angeles (YOLA) program will continue at full capacity until the end of the school year,” reports The Times’ Cerys Davies. The initial cuts to the programming at the Esteban E. Torres High School site included laying off teaching artists, gutting programs for younger students and reduced practices for older students. The parents of students and members of the local community responded to the cuts by organizing an Instagram campaign and town hall meeting, imploring the L.A. Phil to temporarily preserve the Torres site.
An architectural whodunit In 2013, Robert Mosher, one of San Diego’s most respected architects, called Keith York, founder of Modern San Diego, a digital archive devoted to the region’s mid-century design, asking to meet for lunch. “I have something I need to tell you,” he said. A revelation at that meeting led York and fellow architecture buff Stephen Buck to investigate the provenance of Balboa Park’s Timken Museum of Art, which opened in 1965. Did two of the biggest names in American design have a hand in it? Sam Lubell has the details on the decades-old mystery.
— Kevin Crust
And last but not least
I give you the 2025 Times holiday gift guide. Even if you don’t see anything on these carefully curated lists that you like, it’s a great inspiration starter.
1. The Correspondent by Virginia Evans (Crown: $28) A lifelong letter writer reckons with a painful past.
2. Brimstone by Callie Hart (Forever: $33) The deluxe limited edition continues the fantasy adventure begun in “Quicksilver.”
3. Heart the Lover by Lily King (Grove Press: $28) A woman reflects on a youthful love triangle and its consequences.
4. What We Can Know by Ian McEwan (Knopf: $30) A genre-bending love story about people and the words they leave behind.
5. Queen Esther by John Irving (Simon & Schuster: $30) The novelist revisits his bestselling “The Cider House Rules.”
6. The Loneliness of Sonia and Sunny by Kiran Desai (Hogarth: $32) The fates of two young people intersect and diverge across continents and years.
7. Audition by Katie Kitamura (Riverhead Books: $28) An accomplished actor grapples with the varied roles she plays in her personal life.
8. Shadow Ticket by Thomas Pynchon (Penguin Press: $30) A private eye in 1932 Milwaukee is hired to find a missing dairy heiress.
9. The Black Wolf by Louise Penny (Minotaur Books: $30) The latest mystery in the Armand Gamache series.
10. Dog Show by Billy Collins, Pamela Sztybel (illustrator) (Random House: $20) The former U.S. poet laureate captures the essence of dogs in a collection of poems that includes watercolor canine portraits.
…
Hardcover nonfiction
1. 1929 by Andrew Ross Sorkin (Viking: $35) An exploration of the most infamous stock market crash in history.
2. Bread of Angels by Patti Smith (Random House: $30) A new memoir from the legendary writer and artist.
3. Nobody’s Girl by Virginia Roberts Giuffre (Knopf: $35) A posthumous memoir by Jeffrey Epstein and Ghislaine Maxwell’s most outspoken victim.
4. Something From Nothing by Alison Roman (Clarkson Potter: $38) More than 100 recipes that make the most of a well-stocked pantry.
5. The Uncool by Cameron Crowe (Avid Reader Press/Simon & Schuster: $35) The filmmaker recounts his experiences as a teenage music journalist.
6. Lessons From Cats for Surviving Fascism by Stewart Reynolds (Grand Central Publishing: $13) A guide to channeling feline wisdom in the face of authoritarian nonsense.
7. Always Remember by Charlie Mackesy (Penguin Life: $27) Revisiting the world of “The Boy, the Mole, the Fox and the Horse.”
8. Book of Lives by Margaret Atwood (Doubleday: $35) The author of “The Handmaid’s Tale” tells her story.
9. Good Things by Samin Nosrat (Random House: $45) The celebrated chef shares 125 meticulously tested recipes.
10. The Let Them Theory by Mel Robbins (Hay House: $30) How to stop wasting energy on things you can’t control.
…
Paperback fiction
1. On the Calculation of Volume (Book III) by Solvej Balle (New Directions: $16)
2. Project Hail Mary by Andy Weir (Ballantine: $22)
3. Hamnet by Maggie O’Farrell (Vintage: $19)
4. Martyr! by Kaveh Akbar (Vintage: $18)
5. I Who Have Never Known Men by Jacqueline Harpman (Transit Books: $17)
6. The Frozen River by Ariel Lawhon (Vintage: $18)
7. Remarkably Bright Creatures by Shelby Van Pelt (Ecco: $20)
8. On the Calculation of Volume (Book I) by Solvej Balle, Barbara J. Haveland (translator) (New Directions: $16)
9. The Princess Bride by William Goldman (Harper Perennial: $22)
10. Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin (Vintage: $19)
…
Paperback nonfiction
1. Fight Oligarchy by Sen. Bernie Sanders (Crown: $15)
2. The Artist’s Way by Julia Cameron (TarcherPerigee: $24)
3. The White Album by Joan Didion (Farrar, Straus & Giroux: $18)
4. Braiding Sweetgrass by Robin Wall Kimmerer (Milkweed Editions: $22)
5. Just Kids by Patti Smith (Ecco: $19)
6. The Most Human by Adam Nimoy (Chicago Review Press: $20)
7. The Art Thief by Michael Finkel (Vintage: $18)
8. All About Love by bell hooks (Morrow: $17)
9. The Best American Essays 2025 by Jia Tolentino and Kim Dana Kupperman (editors) (Mariner Books: $19)
10. Meditations for Mortals by Oliver Burkeman (Picador: $19)
The first, or maybe the second thing to be said about “The Artist,” a six-part comedy written and directed by Aram Rappaport, is that it streams from the Network, a free ad-supported streaming service Rappaport created to release his previous series, “The Green Veil.” The first three episodes premiere Thursday; the concluding three are due at Christmastime.
The second, or maybe the first thing to say about it is that it comes pulling a tramload of heavy talent — including Mandy Patinkin, Janet McTeer, Danny Huston, Hank Azaria, Patty Lupone, Zachary Quinto — which begs for it to be taken seriously, though that might not be the best way to take it.
Set in 1906, peopled with ahistorical versions of historical figures, the series is set largely in and around the Rhode Island “country home” of Norman Henry (Patinkin), identified by a title card as “an eccentric robber baron,” and seemingly what we’d call a venture capitalist today. (And one seemingly in need of capital.) Norman begins the series dead, carried out rolled in a carpet and set on fire like a Viking, before we skip back in time, meeting his wife, Marian (McTeer), who narrates from her journal and advises “the reader” that it is only on the final page that “you might be well enough equipped to tell fact from fiction, hero from villain.” I’ve seen only the first three episodes, so I have no idea, apart from where the story misrepresents its real-life characters. But that’s just poetic license and, of course, perfectly acceptable.
The staff, for no evident reason, apart perhaps from the house lacking “a working kitchen,” lives in tents on the front lawn. They’re called inside by bells, attached to cords running out the windows, labeled the Maid, the Ballerina, the Boxer, the Doctor. The ballerina, Lilith (Ana Mulvoy Ten), is a sort of protege to Henry; she believes he’ll arrange for her to dance “Coppelia” back home in Paris, the fool. (Their scenes together are creepy.) Sometimes we see her naked (though tastefully arranged) in a metal tub. Her dance instructor, Marius (David Pittu), is waspish, bitter and insulting. The boxer is a sparring partner for Marian, who works out her aggression in the ring. She’s told us that she loathes her husband, and he her (though he professes his love in a backhanded way).
Danny Huston plays Edgar Degas, the artist in the series’ title.
(The Network)
And then there’s the eponymous artist (Huston), eventually identified as Edgar Degas, real-life French Impressionist, who was not, in fact, literally stumbling around Rhode Island in 1906, and certainly not accepting a commission to paint French poodles. (So much French!) You are free to make the connection between the show’s ballerina and those he famously painted, and her nude in the tub with his masterpiece pastels of bathing women. But apart from bad eyesight, a hint of antisemitism and Huston muttering in French, there’s no substantial resemblance to the genuine article. Here, he seems half out of his mind, or half sober. He is quite concerned with getting paid, and I don’t blame him.
The news of the day is that another person from history, Thomas Edison (Azaria) is coming to the house, looking for an investor for his new invention, a Kinetophone, a peep show with sound, like a turn-of-the-century take on a virtual reality headset. (There was such a thing; it was not a success.) This sets up a long flashback in which we learn that Marian and Edison knew each other in college, and that he betrayed her. Next up are Evelyn Nesbit (Ever Anderson) and her mother (Jill Hennessy), who have booked it out of New York after Evelyn’s unstable husband, Harry K. Thaw (Clark Gregg), shot architect Stanford White in the rooftop restaurant of White’s Madison Square Garden. That happened.
It’s a loud show, with much shouting and some brief violence, which, in its suddenness, verges on slapstick, and some less brief violence which is not funny at all. There is a superfluity of gratuitous profanity; F words and the less usual C word fly about like bats at twilight, clutter up sentences, along with many rude sexual and anatomical imprecations. Most everyone is pent up, ready to pop. At the beginning of the series, setting the table for what’s to come, Marian declares, “This is not a story in the conventional sense”; it’s “a cautionary tale,” but “not a tale of murder. This is a story of rebirth,” presumably hers. There’s a feminist current to the narrative: The men are patronizing and possessive, the women — taken advantage of in more than one sense — find ways to accommodate, manipulate or fight them, while holding on to themselves.
One can see why Rappaport might have had trouble landing this series elsewhere, or preferred to avoid notes from above. Aesthetically and textually, it’s the sort of absurdist comedy that used to turn up in the late 1960s and early ‘70s, something like the works of Robert Downey Sr. or William Klein, or maybe an ambitious film student’s senior thesis, given a big budget and access to talent; in its very lack, or perhaps avoidance, of subtlety it feels very old-fashioned. I wouldn’t go so far as to call it bad, or for that matter good, but it seems to me the perfect realization of the creator’s idea, and there is something in that. And there are those three concluding episodes, which will bring in Lupone and Quinto, their characters yet unknown, and may move the needle one way or the other. In any case, it’s not something you see every day.
It’s awards season crunch time, in the sense that I’m crunching in as much work as I can before a Thanksgiving respite — including a guide to some of the highlights from this week’s issue of The Envelope, covered by my profile of Renate Reinsve.
Whether it’s while you smell turkey legs being turned into gravy (i.e., if you’re me as I write this) or as you’re lounging around over the holiday weekend, I hope you’ll dive into the great stories below. And be sure to take a breather from the mayhem in the process. It’s a marathon, not a sprint!
Digital Cover: Ethan Hawke
(Victoria Will / For The Times)
In the years since the Golden Age of TV, it’s not been uncommon for actors to vie for major awards on both the big and small screens at once. But few in recent memory have done so in such distinct projects as Ethan Hawke in “Blue Moon” and “The Lowdown”: One is a chamber drama about the last days of legendary songwriter Lorenz Hart, the other a noirish tale of a hangdog journalist.
It’s a reflection of the actor’s voracious appetite for the unexpected (see also: “Black Phone 2”), which he reveals that some in Hollywood once found “irritating.”
“Generally, people are more comfortable when they know exactly what you are and what your thing is, and if you keep changing your thing it’s confusing,” he tells writer Emily Zemler. “But it’s always been interesting to me to do different things. It makes acting really exciting to me to keep shaking it up. Each thing has its own geometry and math, and that keeps you really engaged.”
Eva Victor on ‘Sorry, Baby’
(Jason Armond / Los Angeles Times)
One of my favorite films of the year, “Sorry, Baby” works on many levels — as a campus satire, a portrait of a friendship, a slice of small-town life. And as writer-director-star Eva Victor writes in a new essay on the film, it took all of those other levels to make the film’s deepest, darkest level possible.
“There was a time in my life when I was looking for a film about going through a trauma that held my hand while I was watching it,” Victor notes, contrasting “Sorry, Baby” with films that depict similar subjects with violent imagery. “I needed the film to care for me, the person who’d been through the difficult thing. I didn’t need a film that existed to teach people how bad it is to go through a bad thing, I needed a film that existed to make me feel less alone.”
How ‘F1’ became a part of F1
As an avowed fan of Formula One, from docuseries “Drive to Survive” to scripted miniseries “Senna,” what fascinated me most watching Apple TV’s summer blockbuster “F1” was the delicate logistical dance it must’ve required to shoot a major theatrical film at actual races on the actual F1 circuit. Maybe that’s my stressed-out editor brain at work, but I asked Nate Rogers to dig into the question.
He reports back that even with legendary racer Lewis Hamilton and Apple on board, the film had to prove “that they could set up at an event like the fabled British Grand Prix at Silverstone and not cause a pileup.”
“We had to rehearse the blocking and staging for about two weeks with a stopwatch … to prove to them that we could actually shoot a scene and get off the track before the race started,” director Joseph Kosinski tells Rogers.
Netflix’s The Widower starring Reece Shearsmith tells the true story of Malcolm Webster, the nurse who murdered his wife and attempted to kill his second
The series of Netflix, which is home to a number of true crime shows, chronicles the life and heinous acts of Malcolm Webster (portrayed by Reese Shearsmith), a Surrey nurse who murdered his first wife and tried to kill his second.
Webster, now 66, was known for pursuing relationships with women to boost his income.
In 1993, he wed Claire Morris from Aberdeenshire, and during their marriage, he drugged her.
In May 1994, he drugged Claire before orchestrating a car crash with her in the passenger seat and setting the vehicle ablaze, making it appear as an accident.
In 1997, he married oncology nurse Felicity Drumm in New Zealand, with whom he had a son.
He staged a second car crash in 1999 and was accused of trying to murder her to fraudulently claim £750,000 from nine insurance policies.
Webster also planned to marry Simone Banarjee, having deceived her into believing he had terminal leukaemia.
She altered her will, leaving her entire estate to Webster, but police alerted her about her fiancé’s past and revealed he already had a wife and son.
In July 2011, he was sentenced to at least 30 years in prison, where he remains today.
The former nurse was convicted of murdering Claire Morris and attempting to murder Felicity Drumm.
These crimes were part of a scheme to claim nearly £1m in life assurance money.
In 2016, he tried to get his case referred back to the High Court, but the Scottish Criminal Cases Review Commission denied his application.
Previously in 2013, his appeal was dismissed when judges rejected his claim of being a victim of a miscarriage of justice.
The Harry Potter star shared an outrageous story about Arnold Schwarzenegger on Lorraine, which left many fans flocking to social media to share their horror
(Image: ITV/Lorraine )
Miriam Margolyes left fans of Lorraine horrified after she told a story about Arnold Schwarzenegger. The Harry Potter star shared that she was working on a film with the Hollywood actor when he chose to “punish” her – by directing a fart at her face.
“Is it true he farted in your face?” Lorraine asked whilst talking about the stories Miriam shares in her new book, The Little Book of Miriam. The star said it was true but added that it was in retribution for her farting first.
“I farted first but we were in rehearsal. He farted when we were actually in performance. And it was not a nice fart. Some farts are sweeter than others, but his was not.”
She added that she felt her purposefully aimed it at her as a form of punishment. She said: “He punished me. He directed it at me. I really didn’t like it.”
Fans of Lorraine were horrified that Miriam would tell such a story, taking to X to share their feelings. One simply wrote: “Miriam Margolyes. [three vomit emojis]”. Another added: “OMG that AWFUL woman.”
A third suggested this topic was a common occurrence for the actress: “Yay, we managed three minutes without ‘National Treasure’ Miriam Margolyes doing her usual farting bit. See ya.”
Others found it funny, with one saying they enjoyed how un-Christmassy she was being: “Miriam is not on message with ITV daytime Christmas grift and I’m here for it.”
Someone else added that they had been reading some of her books and like how shocking she was: “I’ve been reading Miriam Margolyes books, she is such a shocker but a good laugh.”
Miriam worked with Arnold on the film End Of Days in 1999. The film follows Arnold’s Detective Jericho Crane becomes part of the security detail for a banker who has been possessed by the Devil. Miriam played Mabel, a disciple of the Devil who was raising a young woman, played by Robin Tunney, to be a wife for him.
She told The i Paper that she did not have positive feelings about Arnold after the incident, but forgave him earlier this year when he spoke out against Donald Trump.
In September, she said: ““I forgave Arnie only last week, because I heard him speaking out against Trump. I thought, ‘Well, good for you. You’ve come to your senses!’”
The Huntington has acquired a rare Civil War-era painting by American master Winslow Homer. “The Sutler’s Tent” was made in 1863 when Homer was traveling with the Union Army as an illustrator for Harper’s Weekly. The title refers to a type of transitory store that sold goods to soldiers when they were out in the field, and the canvas shows a soldier eating bread and cheese while another soldier rests beside him.
The acquisition is the Huntington’s first oil painting by Homer. The museum’s other holdings include his watercolor, “Indians Making Canoes (Montagnais Indians)” (1895), and several prints, including “The Life Line” (1887). The pieces show the artist’s journey from commercial illustrator to celebrated painter.
“The Sutler’s Tent” will be unveiled to the public on Dec. 7 in the Huntington’s Virginia Steele Scott Galleries of American Art. It was acquired through a partnership with the Ahmanson Foundation — which seeks to help boost the notable holdings of the museum — and marks the fifth major acquisition made through the program.
The gift is intended to honor the country’s upcoming semiquincentennial, and will anchor an ongoing reinstallation of the galleries as the Huntington seeks to expand the multicultural narrative of American art. It will also be integral to the Huntington’s “This Land Is …” initiative, which works to examine the country’s history through its metaphorical and literal landscapes as it approaches the 250th anniversary of its founding.
“The Sutler’s Tent” will be placed in conversation with works about the Civil War and Reconstruction, including Eastman Johnson’s “Sugaring Off” (1865), Jean-Baptiste Carpeaux’s “Why Born Enslaved? “(1868, cast 1872), and a signed copy of the Emancipation Proclamation.
“The Ahmanson Foundation’s partnership with The Huntington has allowed us to bring works of profound artistic and historical resonance into our collections and into public view,” said Huntington President Karen R. Lawrence, in a statement. “Winslow Homer’s ‘The Sutler’s Tent’ — a meditation on the experience of war — embodies our mission to connect art, history, and literature in ways that deepen understanding of the American story.”
The Huntington Library is known for its vast scholarly trove of Civil War ephemera. Its United States Military Telegraph archive includes ciphered communications between Abraham Lincoln and the Army command, and soldiers’ letters and diaries. It also holds the James E. Taylor Collection of scrapbooks documenting the war through photographs and newspaper clippings, and two of the most significant known Lincoln archives.
The art museum’s director, Christina Nielsen, said in a statement that the acquisition of “The Sutler’s Tent,” “deepens our representation of the Civil War era and expands the dialogue between our art and library collections. As we look toward the 250th anniversary of the United States, the painting invites reflection on a pivotal chapter in our nation’s history — one that continues to shape the American experience.”
I’m arts and culture writer Jessica Gelt, looking forward to taking a deep dive into all that can be learned about our present from our past. Here’s your arts and culture news for the week.
Dispatch: Pulitzer Prize-winning Times art critic Christopher Knight to retire
Times art critic Christopher Knight.
(Ricardo DeAratanha / Los Angeles Times)
After 45 years, 36 of them at The Times, art critic Christopher Knight is retiring from daily journalism. His final day at The Times is Nov. 28. In 2020, Knight won the Pulitzer Prize for criticism, and was also honored with a Lifetime Achievement Award for Art Journalism from the Dorothea and Leo Rabkin Foundation.
It’s impossible to overstate the loss Knight’s departure represents for the paper and Los Angeles, or what a tireless, generous, inspiring colleague he is. He possesses a quiet, encyclopedic knowledge of art, and in column after column he connected the dots of culture, history, folklore, civics and psychology in razor-sharp assessments of what a piece of art really means, or how a particular exhibition is poised to change the narrative around a longstanding or misguided idea. In short, he is everything a truly excellent critic should be.
He is also endlessly supportive of arts writers like me who look up to him — will always look up to him.
Thank you, Christopher, for all your words.
On our radar
Janai Brugger as Mimi and Oreste Cosimo as Rodolfo in L.A. Opera’s 2025 production of “La Bohème.”
(Cory Weaver)
La Bohème Giacomo Puccini’s 1896 opera remains one of the most popular works in the Italian canon. Its doomed romanticism among struggling artists in 1830s Paris has a particular appeal to young people and became the inspiration for Jonathan Larson’s musical “Rent.” Lina González-Granados conducts the L.A. Opera orchestra. Brenna Corner directs this revival of the late Herbert Ross’ enduring production. Saturday through Dec. 14. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
Roberto González-Monjas conducts the L.A. Phil this weekend at Walt Disney Concert Hall.
(L.A. Phil)
Elgar’s Enigma Roberto González-Monjas conducts the Los Angeles Philharmonic in a program featuring Erich Wolfgang Korngold’s “Themes and Variations, Op. 42,” Edwin Elgar’s “Enigma Variations, Op. 36,” and cellist Sheku Kanneh-Mason’s performance of the world premiere of an Edmund Finnis concerto. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Robert Therrien, “No title (plaster snowman),” 1982-98, plaster
(Douglas M. Parker Studio)
Robert Therrien: This Is a Story A quintessential artist’s artist, internationally admired Los Angeles sculptor Robert Therrien (1947-2019) made eccentric objects in two and three dimensions that seem strangely familiar when they are wholly abstract, and strangely abstract when they are instantly recognizable as representations of known things — a tall pillar of giant dinner plates, for example, or a simple little snowman. Often the materials are unusual, like zinc over bronze, buffed plaster or tempera on silver, adding to the sense of mysterious specificity. With more than 120 works spanning five decades, this should be the most compelling museum solo show of the season. — Christopher Knight Saturday through April 5, 2026. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
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The week ahead: A curated calendar
FRIDAY Fall of Freedom In a unified act of creative resistance, hundreds of galleries, museums, libraries, comedy clubs, theaters, concert halls and individuals across the nation will host exhibitions, performances and public events, asserting the power of free expression to mount a response to escalating authoritarian threats and censorship in the U.S. Friday and Saturday. There are dozens of local events in Southern California, please check the website for details. falloffreedom.com
¡Cómo el Grinch robó la Navidad! The Old Globe Theatre will present two performances of the world premiere of a new version of the Dr. Seuss classic with your favorite songs in Spanish. And for the 28th year, the Old Globe will also be doing its traditional holiday musical of “Dr. Seuss’s How the Grinch Stole Christmas!” Nov. 21-28. 7 p.m. Friday; 10 a.m. Saturday. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org
From “The Dying World” by Lauren Tsai.
(Josh White)
The Dying World Lauren Tsai’s solo exhibition, an installation utilizing drawing, painting, sculpture, puppets and projected stop motion imagery, explores the liminal space between worlds: subject and object, fiction and maker. Final two nights. 6-10 p.m. Friday and Saturday. Hollywood Forever, the Cathedral Mausoleum Courtyard, 6000 Santa Monica Blvd. hollywoodforever.com
Amy Engelhardt in “Impact,” a solo one-act at the Fountain.
(Peter Serocki/peterserockivisuals.com)
Impact Composer/lyricist/performer Amy Engelhardt’s one-act solo show (with musical accompaniment) probes the 1988 terrorist attack on Pan Am Flight 103 over Lockerbie, Scotland. 8 p.m. Friday and Saturday; 2 p.m. Sunday. The Fountain Theatre, 5060 Fountain Ave., Los Angeles. fountaintheatre.com
SATURDAY Animal Instinct Chinese American artist Kristen Liu-Wong’s solo exhibition of vibrant paintings with slightly macabre narratives highlights her varied influences from American folk art, the cartoons she watched as a kid, Japanese erotic art and an appreciation for architecture. Opening reception, 7-11 p.m. Saturday; noon-6 p.m. Tuesday-Saturday, through Jan. 3, 2026. Corey Helford Gallery, 571 S. Anderson St., Los Angeles. coreyhelfordgallery.com
A Brahmsian Affair The Los Angeles Chamber Orchestra presents a program featuring two sextets by Brahms, plus the world premiere of Julia Moss’ “(Please Don’t) Look Away.” 7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
Corita Day Corita Art Center celebrates L.A.’s favorite artist/nun with an afternoon of art activities for all ages, live screen printing by Self Help Graphics, holiday shopping, food, music by KCRW, and a performance by Bob Baker Marionette Theater at 2 p.m. Visitors can also reserve spots from 11 a.m.-6 p.m. to see the exhibitions “Corita Kent: The Sorcery of Images” and “Irregularity: Corita and Immaculate Heart College’s Rule Breaking Designs.” 1-4 p.m. Marciano Art Foundation, 4357 Wilshire Blvd., L.A. marcianoartfoundation.org
Grief Bacon and Other Holiday Treats Melanie Mayron and Sandra Tsing Loh deliver “old and new humor for trying times.” Part of the Odyssey’s “Thresholds of Invention” series. 8 p.m. Saturday. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Tom Wesselman, “Bedroom Face,” 1977, color aquatint
(Palm Springs Art Museum)
Mapping the Female Body: Tom Wesselmann and Mickalene Thomas An unexpected juxtaposition of two very different painters from the end of one century and the beginning of the next is set to consider dissimilar representations of the contemporary female nude. In the 1960s, the famous “Great American Nude” series by Tom Wesselmann (1931-2004) applied commercial advertising techniques to painterly traditions in Western art familiar since the Renaissance. Fifty years later, Mickalene Thomas applies commercial craft techniques to vibrant paintings of queer Black women — a subject previously absent from Western art history. Questions of gender, sexuality and their depictions are the exhibition’s focus. — Christopher Knight Through April 6, 2026. Palm Springs Art Museum, 101 Museum Drive. psmuseum.org
Venice Winter Fest Chill out SoCal-style with artisan markets, hot cocoa, live music, festive bites and interactive winter-themed activities for all ages. 10 a.m.-6 p.m. 12257 Venice Blvd. thevenicefest.com
SUNDAY Habsburg Harmonies: Haydn, Ligeti, and Brahms Violinist Martin Beaver, flutist Demarre McGill, cellist Clive Greensmith and pianist Fabio Bidini team up for an evening rooted in Austro-Hungarian musical tradition. 4 p.m. Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
TUESDAY Dungeons & Dragons: The Twenty-Sided Tavern Three adventurers need your help on an epic quest to save the world in this interactive fantasy inspired by the immensely popular role-playing game. Through Jan. 4, 2026. The Montálban, 1615 Vine St., Hollywood. broadwayinhollywood.com
Culture news and the SoCal scene
The Palm Springs Art Museum, founded in 1938, has a small board of 22 trustees.
(Lance Gerber / Palm Springs Art Museum)
Speaking of Christopher Knight’s tremendous skills as a critic, did I mention he’s also a phenomenal reporter? In one of his final columns, Knight chronicles the many financial travails of the Palm Springs Art Museum based on internal documents obtained by The Times. “Recent developments have opened a Pandora’s box,” Knight writes of an accounting firm’s annual audit of the museum’s 2024 books. The audit revealed that there is a “reasonable possibility that [the museum’s] internal financial statements are significantly out of whack,” Knight wrote before detailing the fallout leading to a trustees revolt.
Knight also delighted us with a list of “22 essential works of art at the Huntington and the surprising stories behind them.” No one can highlight what should be considered essential viewing at a museum quite like Knight, who takes readers on a virtual tour of the storied San Marino museum and its exquisite holdings, including Sir Joshua Reynolds’ “Portrait of Samuel Johnson (‘Blinking Sam’),” which Knight writes was not favored by its famous subject.
Cher Alvarez, who reprises her role at the Ahmanson, in “Paranormal Activity” at Chicago Shakespeare Theater.
(Kyle Flubacker)
Closer to home, McNulty reserved high praise for the spooky “Paranormal Activity,” now playing at the Ahmanson Theatre. “I caught myself wondering during the first act, ‘Is this the best staged production of the year?’,” McNulty writes of the show, which is based on the horror film franchise of the same name and just completed a run at Chicago Shakespeare Theater. Director Felix Barrett, playwright Levi Holloway and Tony Award-winning illusion designer Chris Fisher are “masters of misdirection,” McNulty concludes.
I had a great Zoom call with Shaina Taub about the inspiration behind her musical, “Suffs.” Taub is only the second woman, after Micki Grant, to star in a Broadway musical for which she also wrote the book, music and lyrics. The show is about the women’s suffrage movement leading up to the ratification of the 19th Amendment. It opened earlier this week at the Hollywood Pantages Theatre as part of the show’s inaugural national tour.
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(Daniel Tyree Gaitor-Lomack / Night Gallery, Los Angeles. Photo by Tomasa Calvo.)
Interdisciplinary Los Angeles–based artist Daniel T. Gaitor-Lomack is staging a solo exhibition, “You Can Hate Me Now,” at Night Gallery. This marks the artist’s second solo show at the space. Much of the new work was informed by Gaitor-Lomack’s life in his MacArthur Park neighborhood. A rep for the gallery wrote in an email that Gaitor-Lomack describes the exhibition “as a kind of ceremony, a gathering of ideas and emotions that have been unfolding across his work over the past three years. Guided by intuition and lived experience, he continues to use found and everyday materials to reflect on the innumerable systems of the world around. The exhibition’s title, long held in his mind, frames the presentation as a meditation on anticipation, transformation, and resilience.” The show will be at Night Gallery through Feb. 14.
The Museum of Fine Arts, Boston, has made what it is calling the first-ever restitution of artwork to the descendants of an enslaved artist. The artist, David Drake, was born around 1800 in Edgefield, S.C. He is known for signing his vessels and inscribing them with poetic verses, including one that read, “I wonder where is all my relations.” Fifteen of Drake’s descendants recently traveled to Boston from various states for a ceremony during which MFA returned one of Drake’s stoneware jars to them, and purchased a second back. An L.A.-based attorney named George Fatheree represents Drake’s family and help shepherd the transaction. “This is a day we hoped and prayed for,” said Pauline Baker, the third great-granddaughter of Drake, in a news release. “To see it realized is almost overwhelming. On behalf of our family, we express our deepest gratitude to the Museum of Fine Arts for its courage and integrity. Most importantly, this ceremony restores not just his work, but his humanity.”
A Gustav Klimt painting, “Portrait of Elisabeth Lederer,” recently sold for $236.4 million, including fees, making it the most expensive modern work to be sold at auction. The 71-by-51-inch painting, created between 1914 and 1916, portrays the 20-year-old daughter of the Viennese art collectors who commissioned the work. The portrait was sold during a Sotheby’s auction in New York and was part of the private collection of cosmetics heir Leonard Lauder, who died in June. According to the Washington Post, a 19-minute bidding battle catapulted the painting “far beyond its $150 million estimate, with two bidders competing over the phone via their auction representatives.”
Back in 2024, Universal conjured a pink and green tornado that swept pop culture.
From themed drinks at Starbucks and dolls of Elphaba and Glinda, to joint appearances by stars Cynthia Erivo and Ariana Grande at the Olympics and throughout a heavily-publicized press tour, “Wicked” was everywhere.
As the conclusion of the two-part film franchise heads to theaters at the end of the week, the marketing for “Wicked: For Good” has accelerated.
There are still themed Legos, but now also Gain laundry scent boosters, Swiffers and Pottery Barn bedding. There was a “Wicked” night on rival network ABC’s “Dancing With the Stars” and a “Wicked: One Wonderful Night” musical event broadcast on NBC.
Beyond the immediate revenue, “Wicked” also gives Universal a rare, female-focused franchise, an underserved audience, particularly as so many recent films have been geared toward men.
The success of the Broadway play, which has run for more than two decades, gave Universal the confidence in its potential for the big screen, said David O’Connor, president of franchise management and brand strategy at Universal Pictures. He’s also been a fan of the stage production almost from the beginning — he watched a table reading on the Universal lot, saw the musical additions to the script and finally, its run in San Francisco.
“For us, you had this potential to really take the fanship and really make ‘Wicked’ into a cultural imperative,” he said in a call from New York ahead of the film’s premiere. “When you think about the characters, the two leads, the themes of friendship, identity and empowerment, and how that resonates universally, and then, of course, the fantastical worlds of Oz and Shiz and Munchkinland, it just seemed like such a great opportunity for us.”
“Wicked” has proved to be a key boost to Universal’s lineup of blockbuster franchises.
Though the studio boasts series like “Jurassic Park,” “Despicable Me” and “Fast & Furious,” it has lacked the deep roster of intellectual property that rivals like Walt Disney Co. and Warner Bros. have, said Brandon Katz, director of insights and content strategy at data firm Greenlight Analytics.
The series “has really emerged as a much-needed, fresh tentpole for Universal,” he said. “There’s such a waterfall of value that this two-part franchise creates that Universal will be banking out on this for years to come.”
The two films were shot back-to-back, with a combined production budget of $300 million, reportedly split evenly between the two.
So far, interest for the second film is high — as of Thursday, “Wicked: For Good” was the highest ticket pre-seller of the year, according to Fandango. It is also the highest PG-rated ticket pre-seller ever on the Fandango platform, passing 2017’s live-action “Beauty and the Beast,” 2019’s animated hit “Frozen 2” and the first “Wicked.”
The film is tracking to haul in $150 million to $160 million in its opening weekend, according to estimates from industry analysts.
And the film’s appeal to women is crucial, particularly in a year when there were few films geared toward female viewers. Despite the persistent debates about the dearth of female-focused films, there have been few big, recent hits, other than 2023’s “Barbie” and last year’s “Wicked.”
“Every three or four years, female audiences are rediscovered with some hit,” said Alisa Perren, professor in the department of radio-television-film at the University of Texas at Austin’s college of communication. “It’s kind of striking how little mainstream female [films] have been released.”
To court all audiences, including those who were familiar with the play as well as those new to the story, Universal leaned into its so-called Symphony program to leverage all arms of the company to promote a film.
The program has been used previously for films like “Despicable Me” and has become a critical part of the marketing campaign, O’Connor said.
One new strategy the company used for supporting this franchise was building a “Wicked” fair, which was held on set in 2023 in London and allowed more than 200 partners to get a feel for the story, see the filmmakers and actors and meet heads of departments, like costumes and props. The studio has done set visits in the past, but nothing like this.
That open house was pivotal in driving partnership agreements and started to fuel the franchise’s success, O’Connor said. One of those was Lego, which signed on with “Wicked” after the fair and has been a partner on both films with product lines and an episode of “Lego Masters.”
Because not all geographic markets had the same built-in awareness of the Broadway play, getting corporate brands on-board was key to increasing knowledge of “Wicked” around the globe, he said.
Though “Wicked: For Good” marks the conclusion to the two-film series, O’Connor was coy about what’s next for the franchise.
“Our focus remains on building experiences that will deepen that connection to ‘Wicked,’” he said. “And all I can say is, we are very committed to ‘Wicked,’ but it’s probably too early to share much more than that.”
The final film of the late Glenda Jackson and, if he remains true to his word, of Michael Caine, “The Great Escaper” has made its way to America two years after its U.K. release. Premiering Sunday under the umbrella of the PBS series “Masterpiece Theatre,” the film tells the true-life story of Bernie Jordan, who, at 89, set off unaccompanied and unannounced from an English retirement home to attend celebrations marking the 70th anniversary of D-Day in Normandy, France. (This event also inspired a Pierce Brosnan film, “The Last Rifleman,” which came out about the same time.) Love and time and duty are its themes. Written by William Ivory and directed by Oliver Parker, it’s a simple story, simply told — sweet, but not saccharine, and moving even when you know what’s coming.
Bernie (Caine) lives with his wife, Rene (Jackson), in a care home by the sea in the town of Hove. She needs more medical attention than he, but both have their wits about them. Having missed securing a spot among the groups traveling to Normandy, Bernie, a Royal Navy veteran, with Rene’s encouragement, decides to go it alone. Though he uses a walker and can seem tired or abstracted at times — he has much on his mind, and a specific mission to fulfill — the trip itself is not especially hard on him. It becomes all the easier once he meets, on the ferry across the English Channel, Arthur Howard-Johnson (John Standing, very fine), an RAF veteran who offers him a place with his group and a bed in his hotel room. As the film goes on, he becomes more and more focused, growing alert and lively and taking charge of Arthur, who had earlier taken charge of him. Each, it will transpire, carries a burden of guilt dating from the invasion.
Michael Caine and Glenda Jackson in “The Great Escaper.”
(Rob Youngson / Masterpiece, Pathé, BBC Films)
Back in Hove, the staff, represented by aide Adele (Danielle Vitalis) and manager Judith (Jackie Clune), is not immediately aware of Bernie’s absence — he’s allowed to come and go — and Rene, who has a tendency to fence with them anyway, is keeping quiet in order to give him time to get away. When they learn he’s missing, a search begins; eventually, Rene lets the truth slip, the exploit hits the press and Bernie, unaware of any of this, is given the nickname “The Great Escaper.” He’ll return home an annoyed celebrity.
Flashbacks, with Will Fletcher as young Bernie and Laura Marcus as young Rene, recall the couple’s wartime meeting and Bernie’s interactions with a young soldier on D-Day. Integrated as memories, they enrich the present action without overexplaining it.
Jackson and Caine, you may know or should learn, were icons of British thespian glamour in the 1960s and ’70s, she in “Marat/Sade,” “Women in Love” and “Elizabeth R,” he in “Alfie” and the Harry Palmer films (“The Ipcress File,” et al.); in 1975, they starred together in Joseph Losey’s “The Romantic Englishwoman,” co-written by Tom Stoppard. Always politically active, Jackson took off 23 years from acting, from 1992 to 2015, to serve as a member of Parliament, and returned to play “King Lear” in London and on Broadway and win a Tony for a revival of Edward Albee’s “Three Tall Women.” Caine, notwithstanding some slow times, made movies all along, all sorts of them, playing Scrooge in “The Muppet Christmas Carol,” Mike Myers’ father in “Austin Powers in Goldmember” and Alfred in the Christopher Nolan’s “Batman” trilogy and parts in five other Nolan films. Watching “The Great Escaper,” you’re seeing history.
Neither has lost a step. (I find it pleasant to remember that, however frail or confused an older character may be, the person playing them is doing a job that requires strength and thought.) Given both the eminence of the actors and their age — Caine was 90 when “The Great Escaper” premiered, while Jackson, 87, died shortly before — it’s hard not to watch with a double consciousness of the players and the parts. But rather than a distraction, it redoubles the impact. Jackson and Caine wear their years proudly; there’s no vanity in their performance or their appearance. The couple’s eventual reunion is deep and real and, like their whole relationship, gorgeously ordinary.
The former head of UCLA’s football name, image and likeness collective on Thursday denied any impropriety related to a report that revealed efforts by the school’s athletic department to funnel NIL donations through his non-profit charity.
The story published by the muckraking college football website foiaball.com showed email communications from UCLA athletic department officials directing payments intended for Bruins for Life, the onetime NIL collective of the school’s football program, through Shelter 37 Inc., a tax-exempt charity that purports to empower home ownership and help local youth through a variety of activities.
Donating through Shelter 37 would provide a tax deduction not available to those giving directly to Bruins for Life — a standard practice in the NIL sphere — but it also raised questions about a potential conflict of interest and the control of funds given James Washington ran Bruins for Life until recently and remains the president of Shelter 37.
The story also questioned Shelter 37’s charitable endeavors and suggested that UCLA athletic department officials encouraged the evasion of Internal Revenue Service guidance regarding so-called donor-advised funds, directing money to Shelter 37 that couldn’t go to other firms taking a more conservative approach with regard to NIL rules.
Emails obtained by foiaball.com through a public records request showed nearly a half million dollars of donations intended for Bruins for Life going through Shelter 37, with school officials requesting that anyone who sent their money through the latter organization to specify that it be earmarked for football NIL.
Washington said there was nothing untoward about an arrangement that was approved by UCLA and involved full transparency.
“There’s nothing that’s happening between Shelter 37 and UCLA and Bruins for Life that’s in the closet,” Washington, a former UCLA safety who went on to win two Super Bowls with the Dallas Cowboys, told The Times. “Everything has been discussed, every move, every act that I’ve taken toward the NIL, every step — bookkeeping and everything — has been handled and handed over to UCLA.”
In a statement, a UCLA athletic department spokesperson said that “UCLA athletics operates with integrity and transparency, in a manner that is consistent with industry best practices. Our development team educates potential donors on a range of giving opportunities, including avenues to support our student-athletes.”
In what Washington described as an unrelated move confirmed by an athletic department official, UCLA recently shifted its football NIL operations to new leadership, allowing Bruins for Life to pivot into an alumni club for football. Washington said the Bruins for Life website was temporarily inactive as part of that transition and that it would still have an NIL component providing community outreach opportunities for football players.
Alongside longtime UCLA donor John Manuck, James had spearheaded the fundraising efforts of Bruins for Life when it debuted in October 2024 as the new NIL arm of UCLA football.
“It’s really exciting,” UCLA athletic director Martin Jarmond said at the time, “because it’s going to support our football student-athletes in a real positive way.”
The foiaball.com story contended that the Bruins for Life website stated that it was not a 501(c)(3) organization, meaning that any donations it accepted were not tax deductible. The website directed those wishing to donate to Shelter 37, a 501(c)(3) organization that said it could receive tax-deductible contributions.
The story reported that Shelter 37’s 2024 IRS 990 tax form, published by ProPublica, showed a revenue jump to $4.8 million in 2024, up from $800,000 the previous year. The document stated that $3.6 million had been raised for the Bruins for Life NIL program but only $200 for scholarships for at-risk youth.
Washington said that latter number was misleading because Shelter 37 was not a scholarship-based organization, even though it assisted at-risk children through a variety of community services. The Times reviewed one Shelter 37 tax document reporting nearly a combined seven figures spent on scholarships, education programs and housing.
“This is when people are not fact-checking,” Washington said, “and they’re just putting stuff out there and they’re just trying to make the story bigger than what it needs to be.”
Over the years, Washington said, Shelter 37 has held many community-based events such as turkey drives, football camps for inner-city kids and “I’m going to college” days in which the organization paid for buses to transport students to football games at the Rose Bowl.
The foiaball.com story contended that Shelter 37 was used as a workaround for donor-advised funds that were in limbo. One UCLA athletic department employee, informed of a denial of one donor-advised fund, forwarded the message to other internal fundraisers, along with a message saying, “Just as an FYI. Here is info for Shelter 37 for DAF gifts.”
A new home for donor-advised funds was needed after another NIL firm, Blue Print Sports, ceased its charitable operations in the wake of the IRS recommendation, its legal counsel citing “no path forward.” According to the documents reviewed by foiaball.com, a UCLA athletic department official sent an email to Washington not long after the IRS guidance was issued, informing him of a $15,000 donation through Bank of America that should be directed to Bruins for Life.
Washington said there was nothing illegal about accepting donor-advised funds and that every move made by his organizations was within the rules.
“Any dollar that was given to me, there’s a track record and we have a communication document that shows what came out and how it was received,” Washington said. “They [UCLA athletic officials] know exactly what came into accounts, they know exactly what came out because everything was disclosed and we were communicating and I was acting as a vessel during the time of the Wild, Wild West to try to help UCLA’s football program succeed in this new era of what we call the NIL.”
I’m Matt Brennan, editor in chief of The Envelope, and each Wednesday from now until Jan. 7, I’ll be sending you a (digital) editor’s letter with some highlights from our Phase I issues.
Our first issue of the 2025-2026 campaign features stories on documentaries, films about the Palestinian experience and “Marty Supreme’s” Odessa A’zion.
A Deeper Dive: Documentaries
(Illustration by Daniel Stolle / For The Times)
I won’t pretend to be Nostradamus when it comes to Hollywood’s top awards — my Gold Derby Emmys ballot didn’t even crack the top 1,000 — but most anyone who ran into me at this year’s Sundance Film Festival heard at least one bold prediction that turned out to be correct: 2025 has been a sterling year for documentaries.
With journalists under attack in the U.S., Ukraine, Gaza and beyond, the form’s close connection to reportage has never felt more urgent, at least not to me. In the contraband prison images of “The Alabama Solution,” the body camera footage of “The Perfect Neighbor,” the conflict coverage of “2000 Meters to Andriivka” and “Love + War,” the portraiture of “Cover-Up” and much more besides, the year’s finest documentaries — no, the year’s finest films — manage to unearth new ways of seeing our society’s most pressing issues, often with more precision and subtlety than scripted films much longer (and costlier) in the making.
I can confirm Tim Grierson’s reporting that Odessa A’zion is a hugger: I received several myself from the “Marty Supreme” and “I Love L.A.” performer when she stopped by The Times newsroom recently for an Envelope digital cover shoot, her own 16mm still camera in hand.
As Grierson notes of the actor, A’zion “doesn’t behave like a rising star” — and she’s not particularly comfortable with the label, either.
“A’zion has heard those predictions before, so she’s wary about being anointed the next big thing,” he writes. “After all, she remembers all the auditions that went nowhere. She remembers being behind on her rent. She remembers almost being evicted. She remembers getting fired from gigs. Simply being cast in a Josh Safdie film doesn’t make those old wounds disappear. ‘To all of a sudden be like, “OK, I’m done [worrying about my career]!” — I don’t see that feeling coming anytime soon.’”
A trio of Palestinian films in the international feature race
A scene from “All That’s Left of You.”
(Watermelon Pictures)
Palestinian stories are no stranger to awards season. But this year, as Gregory Ellwood writes, a trio of films from female directors — each submitted by a different country and each set in a different time period — make for a particularly remarkable confluence.
“In a way, the movie lived what most Palestinians live: war, exile, fleeing,” “All That’s Left of You” filmmaker Cherien Dabis told Ellwood of her film having to shift production after the outbreak of the Israel-Gaza war. “All of the uncertainty, the financial and logistical crisis of it all. I think that what really grounded me during that time was just knowing that the movie was more relevant than ever, and that it had to get done.”
WASHINGTON — Rep. Adam Gray was one of only six House Democrats — and the only one from California — who voted with Republicans in favor of a deal to end the government shutdown, and there was a calculated reason behind that decision.
Gray, a first-term Democrat from the Central Valley, is running for reelection in a majority Latino district that national Republicans are expected to heavily target as they defend their narrow House majority in next fall’s midterm elections. Last year, Gray won his seat by 187 votes, and although redistricting has since made the 13th District more favorable to Democrats, it remains highly competitive.
The Merced Democrat’s vote reflects the political reality of representing one of the nation’s few battleground districts. Gray is positioning himself as an independent-minded Democrat willing to buck leadership on politically divisive issues. The shutdown deal gave him a rare opportunity to put that in practice, even at the risk of frustrating members of his own party.
“I know it is not comfortable, and I know there’s people that are going to be mad at me,” Gray told The Times. “But I am not here to win an argument. I am here to actually help fix problems with people in my community, and I know I did the right thing.”
Democratic representatives and senators for weeks were steadfast in opposing a shutdown deal that did not include language to extend Obamacare tax credits that are set to expire at the end of the year, and as a result, leave millions of Americans with higher healthcare costs.
In Gray’s district, more than half of residents rely on Medi-Cal or have coverage through the Affordable Care Act marketplace, making them vulnerable to rising healthcare costs — a pocketbook issue that is likely to factor into an already competitive congressional race.
Beyond healthcare, nearly 48,000 families in his largely rural district rely on food benefits through the Supplemental Nutrition Assistance Program, known as SNAP, according to the latest data provided by the Department of Agriculture. Those benefits were put at risk during the shutdown as funding for the federal program commonly called food stamps was caught up in legal disputes.
As the shutdown dragged on without meaningful negotiations on healthcare, Gray said, he grew concerned that Republicans were too comfortable “using vulnerable Americans as political leverage.”
Ultimately, Gray was among just 13 Democrats — six in the House, seven in the Senate — who went against their party to end the shutdown that had dragged on an historic 43 days.
“The government is reopening because Democrats were willing to compromise,” Gray said.
The deal, which was signed by President Trump last week, will fund the government through January 2026 and reinstate federal workers who were laid off during the shutdown. It will also fund SNAP through September 2026, a provision that Gray says he wanted to secure because he worries that partisanship could lead to another shutdown in January.
Republicans attack his position
Although Gray voted with Republicans over the shutdown, national Republican operatives still see his seat as a main target ahead of next year’s election — and there is good reason for that.
The seat has a history of party flipping.
In 2024, Gray won his seat by 187 votes, the slimmest margin of any race in the country. His opponent, Republican John Duarte, who cast himself a centrist in the race, had only held the seat for one term before being beat. (And he defeated Gray two years earlier by just 564 votes.)
President Trump carried the 13th last year by five points, underscoring the competitiveness of the Central Valley district which backed Joe Biden in the first Biden-Trump matchup of 2020.
The passage of Proposition 50 has made the district safer for Democrats as the new congressional map shifts parts of Stockton, Modesto and northern Stanislaus County into the district, while removing more conservative, rural territory west of Fresno. Still, it remains a highly competitive district.
Like Duarte, Gray has positioned himself as a centrist, but that hasn’t stopped Republicans from portraying him as being from the party’s far-left flank.
Christian Martinez, a spokesperson for the National Republican Congressional Committee, is now focusing on Gray’s voting history on the shutdown as a reason to criticize the incumbent. Specifically, how Gray in September abstained from voting on a bill that would have prevented the shutdown.
“Instead of delivering results for Californians, out-of-touch Democrat Adam Gray is too busy appeasing his radical socialist base, and now he’s fully responsible for holding Americans hostage with the longest government shutdown in history,” Martinez said.
Martinez added that “hardworking Californians paid the price for his refusal to vote to keep the government open, and next November, they’ll send him packing.”
Gray is now facing a Republican challenge from former Stockton Mayor Kevin Lincoln. When Lincoln announced his bid on Nov. 6, before the shutdown deal vote, he criticized Gray for not doing enough to prevent the shutdown in the first place.
“Washington politicians like Adam Gray have fallen in line with a failed liberal agenda that’s made life less affordable and less safe,” Lincoln said in a statement.
Moving forward, Gray sees the vote as an opportunity to reset negotiations and find a bipartisan solution before funding runs out again on Jan. 30, 2026.
“I think we’re moving in the right direction,” Gray said. “I hope my colleagues have the courage to do the right thing over the next days.”
Back in his district, Democrats have had a mixed reaction to his vote. As for his congressional colleagues, they have not offered up much criticism, choosing to let Gray explain his vote to the ever-changeable 13th District.
Movies can become forever memorable through the magic of a singular image, that celebrated “one perfect shot” that illuminates everything before and after it. The Envelope asked directors of five awards-contending documentaries to talk about the shot their film couldn’t live without.
‘Apocalypse in the Tropics’
Director Petra Costa’s sequel to “The Edge of Democracy” (a 2020 Oscar nominee) examines the powerful role played by evangelical Christianity in Brazilian politics and the rise of far-right former President Jair Bolsonaro.
“I chose the shot of the Statue of Justice, decapitated and upside down,” says Costa, describing a scene in front of the Supreme Federal Court in Brasilia after Bolsonaro’s supporters sacked the nation’s seat of government on Jan. 8, 2023. “[It] symbolizes much of this story on many levels. This film is ultimately using Brazil as a metaphor for the current crises of our democracies worldwide. This picture symbolizes how violent speech is, not just violent speech. It produces violent action, and that was what brought Bolsonaro to power.”
‘Folktales’
Rachel Grady and Heidi Ewing’s “Folktales”
(Magnolia Pictures)
Directors Heidi Ewing and Rachel Grady (2007 Academy Award nominees for “Jesus Camp”) follow a group of adolescents through a year at a traditional Norwegian folk high school.
“The first time you see the Tree of Life in the movie,” says Ewing, describing a powerfully symbolic image in the story, “it’s shot from below. It’s a wide angle and it’s almost like a creature. I call it Guillermo del Toro’s tree, because it’s knotty and dead, but it’s everything. It’s breathtaking and there was no other tree like it in the forest. It inspired the whole layer in the film that became the myth of Odin and using Norse mythology as a metaphor for growing up, and we use the tree as our centerpiece.”
‘Predators’
Director David Osit (“Mayor”) unpacks the complex and disturbing legacy of the TV exposé “To Catch a Predator,” which became a pop-culture phenomenon during its run in the mid-aughts.
“So much of my film is about looking at images, and part of it was me looking at images … and really just thinking: The only way I know how to make this movie is I’ve got to give someone the experience I’m having, making the film and looking at material. So there was an image that I filmed, but it didn’t mean anything to me until I saw it. And that’s the image that I chose. There’s this moment in the film where I’m interviewing Dan Schrack, who is one of the decoys who … was involved in what happened in Texas. [The subject of the show’s sting operation took his own life, which led to the show’s cancellation.] I’m having him look at some pictures, and I get a shot from behind him. What I didn’t notice during the filming … was my reflection, perfectly placed in a small mirror. Only for a split second did I think to myself, ‘Oh no, I ruined the shot.’ Immediately afterwards, I felt a deeper understanding … that I couldn’t take myself out of this movie. It wasn’t my intent to be in it, but more often than not, documentaries neuter and make invisible the acts of their creation. And every single time I tried to film this movie, the opposite was happening. My identity, my motivations, my interests kept asserting themselves, and that shot was it. That was the shot where I realized what the film was.”
‘Seeds’
Carlie Williams in “Seeds.”
(Brittany Shyne)
Shot in black and white, Brittany Shyne’s debut feature explores the lives and challenges of Black farmers in south Georgia.
“The scene that I always go back to is with Carlie Williams, the 89-year-old farmer,” Shyne says. “It’s a moment when we’re in his house, and he gets up from his chair, and he goes over to tend to his daughter, Lois. I really like that moment, because we could see a father who’s utterly devoted to his child, making sure that her health is OK. I love that moment of tenderness, because that is something I try to view throughout the whole film, this kind of familial care that we see between generations.”
‘The Tale of Silyan’
(National Geographic Documentary Films)
The Macedonian film, from 2020 Oscar nominee Tamara Kotevska (“Honeyland”), is the story of Nicola, who rescues an injured stork from a landfill after the collapse of his family farm.
“The moment when Nicola captures the stork,” Kotevska says. “It completely changed the course of the film and the story itself. We thought that it was going to be more of a sad story, but it ended up being more of a hopeful story — not a happy one, but a hopeful one. It eventually became a story of a man saving a stork and a stork saving a man.”
Stenciled on sidewalks, projected on buildings and tweeted in hashtags, a one-word message will greet California Democrats as they arrive in Sacramento for their party convention this weekend: Persist.
It’s not a guerrilla marketing campaign for a politician or a product. It’s the brainchild of a crew of top Democratic strategists — all women — who were seeking a cathartic way to channel their grief over the outcome of the 2016 presidential election.
What started as an internal support group has become a multi-pronged effort to promote female empowerment, capped off by a 5-foot-8, 400-pound bronze figure of a defiant young girl perched on the roof of the Democratic Party headquarters in downtown Sacramento — the West Coast’s own version of the Wall Street “Fearless” statue.
Here’s how the effort evolved:
Democratic strategists commissioned their own version of the Wall Street “Fearless” statue. (Melanie Mason / Los Angeles Times)
(Melanie Mason / Los Angeles Times)
The inspiration
The word “persist” took on new political meaning in February, when GOP Senate Majority Leader Mitch McConnell cut Massachusetts Sen. Elizabeth Warren off from speaking, offering as an explanation, “She was warned. She was given an explanation. Nevertheless she persisted.”
But it was a month later, when a statue of an assured girl facing down the iconic Charging Bull statue appeared on Wall Street, when Angie Tate decided to act.
The “Fearless Girl” statue stands facing the Charging Bull statue as tourists take pictures in New York on April 12. (Jewel Samad / AFP/Getty Images)
(JEWEL SAMAD / AFP/Getty Images)
Tate, chief fundraiser for the California Democratic party, saw a picture of the “Fearless” statue before her morning walk to the office. By the time she arrived, she had the makings of a plan — and was quickly drafting friends to join.
“There was a morning when there were a lot of texts from Angie,” recalled Robin Swanson, a veteran Democratic communications consultant.
Tate’s idea was to make their own version of “Fearless” for the West Coast. Within weeks, they had found a model for the statue — the 5-year-old daughter of Democratic strategist Dana Williamson — and two anonymous donors to cover the $16,000 tab.
The message
The organizers of the campaign have their own definitions of what it means to persist.
“It’s a symbol that we can all choose our own path if we continue to stand, even when it’s really hard,” Tate said.
For Swanson, the word carries a political connotation after last year’s presidential election.
“For me, I am inspired by Hillary Clinton — inspired that every day she gets out bed and has something to say,” Swanson said.
Children of the “Persist” campaigners pose at the California Democratic Party headquarters. (Jeff Walters)
But she and her colleagues hastened to make clear that their message was not limited to partisan politics.
“I was picturing a little girl in a classroom afraid to raise her hand,” said Williamson, who is an advisor to Gov. Jerry Brown. “We want this next generation to see powerful images of strong women and girls so that they believe very early on that [they] not only can they speak up, but that they should.”
The clues
A completed stencil in Sacramento. (Melanie Mason / Los Angeles Times)
Robin Swanson stencils “persist.” (Melanie Mason / Los Angeles Times)
In the run-up to this weekend’s party convention, the Persist campaign planners steadily dropped hints about their effort. They launched a website and encouraged women to share their own stories about persistence on social media. They recruited heavy-hitter friends in California politics — including former First Lady Maria Shriver, Brown’s top aide Nancy McFadden, influential labor and Democratic Party figures, even Colusa, the governor’s dog — to reference the campaign on their Twitter feeds.
The big reveal
Finally, on Friday morning, the “persist” statue was installed on top of the Democratic Party headquarters in Sacramento — which had its roof reinforced to accommodate the new addition.
The references to the campaign will crop up throughout the convention, including on fliers slipped in delegate goody bags and in planned mentions in speeches by Lt. Gov. Gavin Newsom and Sen. Kamala Harris.. But organizers are hoping the campaign endures beyond the weekend; they’ll continue to collect stories on their website and have discussed potential for other art installations across the state.
For now, their statue now peers out from the corner of the building to passersby.
“Little girls need something to look up to,” Swanson said. “They can literally look up at the statue of ‘persist’ and say ‘I can persist.’ Frankly, we all need a little reassurance ourselves.”
UPDATES:
1:30 p.m. This article was updated to include planned references to “persist” in convention speeches by Lt. Gov. Gavin Newsom and Sen. Kamala Harris.
This article was originally published at 1:20 p.m.
1. The Black Wolf by Louise Penny (Minotaur Books: $30) The latest mystery in the Armand Gamache series.
2. The Correspondent by Virginia Evans (Crown: $28) A lifelong letter writer reckons with a painful past.
3. What We Can Know by Ian McEwan (Knopf: $30) A genre-bending love story about people and the words they leave behind.
4. The Proving Ground by Michael Connelly (Little, Brown & Co.: $32) The Lincoln Lawyer is back with a case against an AI company for its role in a girl’s killing.
5. The Secret of Secrets by Dan Brown (Doubleday: $38) Symbologist Robert Langdon takes on a mystery involving human consciousness and ancient mythology.
6. Alchemised by SenLinYu (Del Rey: $35) A woman with missing memories fights to survive a war-torn world of necromancy and alchemy.
7. The Loneliness of Sonia and Sunny by Kiran Desai (Hogarth: $32) The fates of two young people intersect and diverge across continents and years.
8. Heart the Lover by Lily King (Grove Press: $28) A woman reflects on a youthful love triangle and its consequences.
9. Queen Esther by John Irving (Simon & Schuster: $30) The novelist revisits the world of his bestselling “The Cider House Rules.”
10. The Widow by John Grisham (Doubleday: $32) A small-time lawyer accused of murder races to find the real killer to clear his name.
…
Hardcover nonfiction
1. Bread of Angels by Patti Smith (Random House: $30) A new memoir from the legendary writer and artist.
2. 1929 by Andrew Ross Sorkin (Viking: $35) An exploration of the most infamous stock market crash in history.
3. Nobody’s Girl by Virginia Roberts Giuffre (Knopf: $35) A posthumous memoir by Jeffrey Epstein and Ghislaine Maxwell’s most outspoken victim.
4. Lessons From Cats for Surviving Fascism by Stewart Reynolds (Grand Central Publishing: $13) A guide to channeling feline wisdom in the face of authoritarian nonsense.
5. Book of Lives by Margaret Atwood (Doubleday: $35) The author of “The Handmaid’s Tale” tells her story.
6. Always Remember by Charlie Mackesy (Penguin Life: $27) Revisiting the world of “The Boy, the Mole, the Fox and the Horse.”
7. The Uncool by Cameron Crowe (Avid Reader Press/Simon & Schuster: $35) The filmmaker recounts his experiences as a teenage music journalist.
8. The Let Them Theory by Mel Robbins, Sawyer Robbins (Hay House: $30) The podcast host explains how to stop wasting energy on things you can’t control.
9. Giving Up Is Unforgivable by Joyce Vance (Dutton: $28) A rallying cry for citizen engagement to preserve American democracy.
10. Notes on Being a Man by Scott Galloway (Simon & Schuster: $29) The NYU professor and podcaster explores what it means to be a man in modern America.
…
Paperback fiction
1. The God of the Woods by Liz Moore (Riverhead Books: $19)
2. How About Now by Kate Baer (Harper Perennial: $18)
3. The Frozen River by Ariel Lawhon (Vintage: $18)
4. Project Hail Mary by Andy Weir (Ballantine: $22)
5. I Who Have Never Known Men by Jacqueline Harpman (Transit Books: $17)
6. The City and Its Uncertain Walls by Haruki Murakami (Vintage: $19)
7. Martyr! by Kaveh Akbar (Vintage: $18)
8. Remarkably Bright Creatures by Shelby Van Pelt (Ecco: $20)
9. The Housemaid by Freida McFadden (Grand Central: $19)
10. The Bell Jar by Sylvia Plath (Harper Perennial Modern Classics: $18)
…
Paperback nonfiction
1. On Tyranny by Timothy Snyder (Crown: $12)
2. The Wager by David Grann (Vintage: $21)
3. Fight Oligarchy by Sen. Bernie Sanders (Crown: $15)
4. How to Know a Person by David Brooks (Random House Trade Paperbacks: $20)
5. Braiding Sweetgrass by Robin Wall Kimmerer (Milkweed Editions: $22)
6. Meditations for Mortals by Oliver Burkeman (Picador: $19)
7. The Art Thief by Michael Finkel (Vintage: $18)
8. All About Love by bell hooks (Morrow: $17)
9. Signs by Laura Lynne Jackson (Dial Press Trade Paperback: $22)
10. The Best American Essays 2025 by Jia Tolentino and Kim Dana Kupperman (editors) (Mariner Books: $19)
Remember the brave, talented theater students at Eliot Arts magnet school who lost their school, homes and theater to January’s Eaton fire and went on to perform their spring musical, “Shrek Jr.,” to a sold-out crowd at the Ahmanson Theatre?
Those kids are still displaced from their school, but not from the tenacious community spirit that guided them through the aftermath of that trauma. Their next chapter: a four-day, three-night class trip to New York City to see the sights and attend Broadway shows and workshops.
“After ‘Shrek’ last spring, I sat down with a group of my advanced theater students, and I said, ‘Dream big. What else would you want in your fantasy world?’ Big things have happened for us this semester after the fires,” their drama teacher, Mollie Lief, said in a phone interview. “And they said, ‘We want to go to New York City.’ And I just thought, ‘OK, we’re gonna make this happen.’”
The class has now met its initial $75,000 fundraising goal toward “Broadway Bound: A drama and dance trip to NYC,” which Lief will lead along with dance teacher Billy Rugh, who choreographed “Shrek Jr.” The funds, which will help cover the partial or full cost of taking 61 seventh and eighth graders to the Big Apple from April 7-10, were raised in about 28 days through a school fundraising campaign app called SnapRaise.
Lief credited actor Gillian Jacobs — who Lief calls “our fairy godmother” — with spreading the word to friends in film and TV, which is why the initial goal was met so quickly. Fundraising remains ongoing for the trip, as well as the school’s spring musical, but the class can now rest easy that everyone will be able to go.
“I think everybody was skeptical that we were going to be able to raise that much money and make it happen. But if Eliot’s good at anything, we are good at making big things happen,” said Lief.
Speaking of which: The other really big thing that Lief wants for the kids is a meeting with Broadway superstar and “Hamilton” creator Lin-Manuel Miranda. Miranda sent a personal message of support to the students via video when they performed at the Ahmanson, so he’s aware of them and their extraordinary story.
“They just love him,” Lief said of Miranda. “We had a Lin-Manuel Miranda day for Hispanic Heritage Month, and everybody dressed up as him or a character from one of his shows. They are all obviously obsessed with ‘Hamilton,’ which is a show we’re trying to see when we’re in New York.”
Three Broadway shows are part of the trip’s itinerary, as well as a theater and dance workshop or two. Also on the agenda: plenty of New York pizza, a jaunt through Central Park, a sightseeing cruise and a Big Bus tour.
“They’re super pumped,” Lief said of the kids who are currently rehearsing for their newest show, “The Somewhat True Tale of Robin Hood.”
On our radar
Grant Gershon will conduct the Los Angeles Master Chorale in David Lang’s “before and after nature” Sunday at Walt Disney Concert Hall.
(Jamie Phan / Los Angeles Master Chorale)
before and after nature The fall’s third and largest major environment-themed work is David Lang’s “before and after nature,” an evening-length score that was commissioned by the Los Angeles Master Chorale and had its premiere in the spring at Stanford University in conjunction with the Doerr School of Sustainability. Here, Lang explores, in his almost Hildegard-like glowing vocal writing, the human relationship with a nature that doesn’t need us, or want us, yet we insist on being the center of everything and making an inevitable mess of it. The instrumental ensemble is Bang on a Can All-Stars (Lang having been a founder of the New York music institution). The performance includes a video component by Tal Rosner, and Grant Gershon conducts. — Mark Swed 7:30 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
A 1989 billboard poster about museum representation by the Guerrilla Girls.
(Getty Research Institute)
How to Be a Guerrilla Girl The Guerrilla Girls famously shield their identity by wearing gorilla masks in public, but this show will unveil “how-to” information on their effective techniques of data research, distribution and culture jamming. Drawing on the witty protest group’s early archives, acquired in 2008 by the Getty Research Institute, their 40th anniversary will be celebrated by an exhibition of materials outlining the collaborative process that goes into their ongoing demands for art world equity for women and artists of color. A selection from their dozens of posters and ads will be displayed. — Christopher Knight Tuesday through April 12, 2026. Getty Center, Research Institute Galleries, 1200 Getty Center Drive, Los Angeles. getty.edu
The Broadway production of the musical “Suffs.”
(Joan Marcus)
Suffs This musical by Shaina Taub, which won Tony Awards for book and original score, turns the history of the 20th century American women’s suffrage movement into a show that rallies the spirit of democracy. The plot follows Alice Paul and a new generation of radical activists who are testing new tactics in the fight to secure women the right to vote. During the Broadway run, Hillary Clinton, one of the show’s high-profile producers, went on the stump for “Suffs,” endorsing its much-needed lesson that progress is possible, if never guaranteed. — Charles McNulty Wednesday through Dec. 7. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com
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The week ahead: A curated calendar
FRIDAY
Olga de Amaral, “Gran Muro, Panel 7B,” 1976. Cotton, wool, horsehair, sisal and/or jute, rayon, nylon, raffia. 130 x 175 in.
(Mark Waldhauser / Photo from Lisson Gallery)
Olga de Amaral This solo exhibition of work from the Colombian artist’s six-decade career emphasizes her use of weaving, painting and sculpture, with variable scale, form and materials, including linen, wool, horsehair, Japanese paper, acrylic and precious metals. Opening, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday. Lisson Gallery, 1037 N. Sycamore Ave. Los Angeles. lissongallery.com
60 Miles East: Riverside’s Underground Punk Rock, Hardcore & Ska Scene, from the late 1980s to early 2000s An exhibit of photography devoted to a distinctive music scene that made the most of its outsider existence in exploding exurbia. Riverside Museum of Art, Art Alliance Gallery, 3425 Mission Inn Ave. riversideartmuseum.org
SATURDAY
Yaphet Kotto, Sigourney Weaver and Ian Holm in the 1979 film “Alien.”
(Robert Penn / 20th Century Fox)
Alien Ridley Scott’s 1979 sci-fi classic screens in 35 mm to capture all of its oozing, Xenomorphic chest-bursting glory. Sigourney Weaver, Ian Holm, Yaphet Kotto and Tom Skerritt star. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Creative Continuities: Family, Pride and Community in Native Art Three contemporary Plains Indian artists, John Pepion (Blackfeet), Brocade Stops Black Eagle (Crow) and Jessa Rae Growing Thunder (Dakota/Nakoda), each curated a section of this exhibition exploring aspects of Native culture through the lens of works created by their ancestors. Saturday-June 2027. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org
Jlin A 2023 Pulitzer Prize finalist, the electronic music composer a.k.a. Jerrilynn Patton’s latest album featured collaborations with Philip Glass, Björk and Kronos Quartet. 8 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Baratunde Thurston will perform Saturday at Carpenter Center.
(Roy Rochlin / Getty Images for Unfinished Live)
An Evening with Baratunde Thurston The comedian and futurist ponders interrelationships between people, nature and technologies through stories. 8 p.m. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
SUNDAY Radical Histories: Chicano Prints from the Smithsonian American Art Museum Six decades of art featuring 60 works by 40 or so artists and collectives that reflects an era of rebellion and cultural solidarity. Through March 2, 2026. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Something’s Gotta Give The American Cinematheque’s tribute to Diane Keaton continues with director Nancy Meyers’ 2003 romantic comedy co-starring Jack Nicholson, Amanda Peet and Keanu Reeves. Meyers joins film critic Katie Walsh for a Q&A. 7 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
Takács Quartet The chamber music ensemble performs a program featuring works by Joseph Haydn, Clarice Assad and Claude Debussy. 4 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
TUESDAY Brahms Strings Members of the L.A. Phil perform contemporary American composer Jessie Montgomery’s “Strum” as well as19th century masterworks by Johannes Brahms. 8 p.m. Tuesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY Lonnie Holley and Moor Mother The two artists collaborate for an evening of free jazz and spoken word rooted in Afrofuturism. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Prieto The L.A. premiere of poet and performance artist Yosimar Reyes dives into his experience growing up queer in East San Jose. 8 p.m. Thursday; 8 p.m. Nov. 21-22; 2 p.m. Nov. 23. The Rosenthal Theater at Inner-City Arts, 720 Kohler St., Los Angeles. brownpapertickets.com
New Original Works (NOW) The third weekend of REDCAT’s annual festival of experimental performance features a program of works by Lu Coy, jeremy de’jon guyton and Luna Izpisua Rodriguez. 8 p.m Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A.redcat.org
Shelley Conducts Carmen and Daphnis and Chloe Artistic and music director designate Alexander Shelley conducts the Pacific Symphony in a program of Bizet and Ravel, as well composer/pianist Gabriel Montero’s “Latin Concerto.” 8 p.m Thursday; 8 p.m. Nov. 21-22. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
Culture news and the SoCal scene
The Lucas Museum of Narrative Art has officially set its opening date for Sept. 22, 2026. The Times got an exclusive peek at a few interiors, including the research library and the entrance lobby. We also took some great photos of the building as it currently looks and made a short video. Take a peek.
Times classical music critic Mark Swed weighs in on opera’s “long and curious fetish for the convent” in his review of Sarah Kirkland Snider’s “sincere and compelling ‘Hildegard.’” L.A. Opera’s collaboration with Beth Morrison Projects is based on “a real-life 12th century abbess and present-day cult figure, St. Hildegard von Bingen.” The show, which premiered at the Wallis last week, “operates as much as a passion play as an opera,” Swed writes.
Swed also took in a show featuring Zubin Mehta, the 89-year-old Los Angeles Philharmonic’s conductor emeritus, as he led the orchestra in Bruckner’s Eighth Symphony. Swed calls Mehta “a living L.A. icon.”
Times theater critic Charles McNulty touched down in New York City to review “The Queen of Versailles,” an adaptation of Lauren Greenfield’s 2012 documentary about a family building a supersized American home. McNulty found the musical unwieldy despite Michael Arden’s superb direction, but he reserved special praise for its star, Kristin Chenoweth, “who is bearing the weight of a McMansion musical on her diminutive frame and making it seem like she’s hoisting nothing heavier than a few overstuffed Hermes, Prada and Chanel shopping bags.”
Sculptures by the entrance of the Norton Simon Museum in Pasadena.
(Etienne Laurent / For The Times)
I enjoyed writing about the $15-million renovation of the Norton Simon Museum, which has been unveiled in tandem with the organization’s 50th anniversary. In addition to new signage, improved curb appeal and a more accessible pedestrian entryway, the museum restored the 115,000 Heath tiles that clad the building’s exterior.
Times art critic Christopher Knight has the scoop on trouble at the Palm Springs Art Museum, which is facing a trustee revolt after hiring its new director, Christine Vendredi — the fourth such leader in just seven years. A week after the hire, “the chair of the search committee tasked with filling that position, trustee Patsy Marino, resigned from the museum’s board citing ‘inappropriate interference and attempts to influence the process’ on the part of the museum’s executive committee, individual trustees and other unidentified museum staff and donors,” Knight writes. To date, 22 trustees have exited, and it has been revealed that no other candidates were interviewed for the role.
Wallis Annenberg Center for the Performing Arts announced a major departure: Robert van Leer is stepping down as executive director and chief executive of the Wallis to take on the role of the new performing arts program director of the William and Flora Hewlett Foundation. Van Leer has been at the Wallis since April 2023, and was instrumental in inviting a host of prominent performing arts organizations to make the Wallis their home, including Los Angeles Chamber Orchestra, L.A. Dance Project, Los Angeles Ballet, BODYTRAFFIC, and Tonality.
“Specter,” a sculptural installation for Desert X by L.A. artist Sterling Ruby, just outside Palm Springs in 2019.
(Carolina A. Miranda / Los Angeles Times)
Big changes are coming to Desert X as it plans its sixth exhibition in the Coachella Valley, and its 10th worldwide. Over the past decade, the organization has commissioned more than 100 artists to create site-specific work in the desert. For its 10th anniversary exhibition, Desert X has announced new dates and an extended timeline. The next show is scheduled to open on Oct. 30, 2027, and will run through May 7, 2028, to coincide with other important area cultural events including the Palm Springs International Film Festival, Modernism Week, Frieze Los Angeles and the Coachella Valley Music and Arts Festival.
Carol Burnett has endowed a new scholarship at the UCLA School of Theater, Film and Television. The annual award will support undergraduate students in the school’s Ray Bolger Musical Theater Program. The inaugural scholarship has been awarded to first-year theater major Alexa Cruz.
— Jessica Gelt
And last but not least
Looking for a decadent holiday gift for an art lover? How about a $295 chocolate bar made by andSons Chocolatiers in collaboration with Ed Ruscha? The 73% Peruvian dark chocolate bar is an edition of 300 and comes in a cloth-bound box, which, according to the Beverly Hills-based chocolate company’s website, features “a reproduction of Ruscha’s 1971 lithograph ‘Made in California’” and “bears the relief of the West Coast’s rugged topography from the Pacific Ocean eastward to the Santa Lucia Mountains.”
When Donald Trump apologized for saying in 2005 that he could grope women because of his celebrity, he immediately pointed to Bill Clinton as having done worse. Trump appeared before a debate alongside Clinton’s accusers and again mentioned the former president’s past while onstage with Hillary Clinton. But Trump’s argument was undercut when more women publicly came forward with allegations that he had groped or kissed them without consent.
Here’s a look at the pasts of both Trump and Bill Clinton and accusations against them.
Donald Trump
In a screen grab of a 2005 “Access Hollywood” video, Donald Trump prepares for his cameo on “Days of Our Lives” with actress Arianne Zucker and Billy Bush, right, then “Access” co-host. (Getty)
(Getty)
1977, 31-year-old Trump
Trump marries his first wife, Ivana Trump
Donald Trump Jr. is born
Early-1980s, 30-something Donald Trump
Allegation: While Trump was seated next to her on a plane, businesswoman Jessica Leeds said, he lifted her armrest and touched her inappropriately.
“He was like an octopus,” Leeds, now 74, told the New York Times. “His hands were everywhere.”
Response: Trump called it a “ridiculous tale.” At a rally in North Carolina, he said, “She would not be my first choice.”
Allegation: Ivana Trump used the word “rape” in a 1992 deposition during their divorce to describe an encounter with Trump when they were married in 1989. In 2015, after the allegation resurfaced, she said it was “without merit” and that she had made it “at a time of very high tension during my divorce from Donald.”
Response: After the allegation resurfaced last summer, Michael Cohen, a lawyer for the Trump Organization, incorrectly said that a man cannot legally rape his wife. Many states have laws outlawing marital rape. Trump distanced himself from that statement.
Early 1990s, 40-something Trump
Allegation: Kristin Anderson told the Washington Post that when she was at a Manhattan nightclub, someone sitting next to her “touched her vagina through her underwear.” Anderson said she fled the couch and only then realized it was Trump.
Response: “Mr. Trump strongly denies this phony allegation by someone looking to get some free publicity. It is totally ridiculous,” Trump spokeswoman Hope Hicks said to the Post.
1991, 44-year-old Trump
Ivana Trump files for divorce.
1992, 45-year-old Trump
Accusation: Donald Trump reportedly talked about dating young girls once they reached maturity. A 1992 wire service report said he joked to 14-year-old girls that he’d be dating them “in a few years.” In CBS footage from around the same time, he says of a 10-year-old girl that he’d be “dating her in 10 years.”
Response: Trump has not commented specifically on those allegations.
Accusation: Jill Harth filed a sexual assault lawsuit against Trump, alleging that while working on a beauty competition with him, he harassed her to the point of what she called “attempted rape.”
“He pushed me up against the wall, and had his hands all over me and tried to get up my dress again,” she told the Guardian. “And I had to physically say: ‘What are you doing? Stop it.’”
Response: In an interview with CNN on Friday, Trump said he was the victim of a political smear campaign.
1993, 46-year-old Trump
Tiffany Trump is born.
Trump marries Marla Maples.
1997, 50-year-old Trump
Trump and Marla Maples separate.
Accusation: Temple Taggart told the New York Times that when she was Miss Utah, Trump kissed her on the lips without consent.
Response: Trump has denied the allegations.
1998, 51-year-old Trump
Accusation: During a press conference with Gloria Allred on Thursday, Karena Virginia said Trump approached her after the 1998 U.S. Open tennis tournament in Flushing, N.Y. He then grabbed her arm and touched her breast.
“Don’t you know who I am?” Virginia said Trump asked her when she flinched.
Response: “Gloria Allred, in another coordinated, publicity seeking attack with the Clinton campaign, will stop at nothing to smear Mr. Trump,” Trump spokeswoman Jessica Ditto said. “Give me a break. Voters are tired of these circus-like antics and reject these fictional stories and the clear efforts to benefit Hillary Clinton.”
1999, 52-year-old Trump
Trump and Marla Maples divorce
2003, 56-year-old Trump
Accusation:Mindy McGillivray says Trump groped her at his Mar-a-Lago estate in Florida while she was working with a photographer at the site. She was 23.
Response: Trump has denied the allegations.
2005, 58-year-old Trump
Trump marries Melania Trump
Allegation: Trump makes lewd comments about groping women.
Response: Apologized, calling it “locker room talk,” while dismissing it as a distraction.
Accusation: Rachel Crooks says Trump kissed her without permission outside an elevator bank at Trump Tower in Manhattan when she was 22.
Response: Trump denied the allegations. When questioned by a New York Times reporter, he told the journalist, “You are a disgusting human being.”
2006, 59-year-old Trump
Barron Trump is born.
Allegation: During a Saturday press conference with Gloria Allred, adult film star Jessica Drake said she met Trump in 2006 at a golf tournament in Lake Tahoe where she said he made sexual advances toward her and two friends.
“When we entered the room he grabbed each of us tightly in a hug and kissed each one of us without asking permission,” Drake said, releasing a posed photo she took with Trump at the event.
Drake said that later, Trump or a “male speaking on his behalf” offered her $10,000 and use of his private jet for sex. She said she declined.
Response: “This story is totally false and ridiculous. The picture is one of thousands taken out of respect for people asking to have their picture taken with Mr. Trump,” Trump’s campaign said in a statement. “Mr. Trump does not know this person, does not remember this person and would have no interest in ever knowing her.”
2007, 60-year-old Trump
Accusation: Former “Apprentice” contestant Summer Zervos says Trump invited her into his bungalow at the Beverly Hills Hotel and proceeded to kiss her against her will, groped her and shoved his genitals towards her.
Response: “To be clear, I never met her at a hotel or greeted her inappropriately a decade ago. That is not who I am as a person, and it is not how I’ve conducted my life,” Trump said in a statement.
Bill Clinton
President Bill Clinton and Monica Lewinsky.
(Getty Images)
1975, 29-year-old Bill Clinton
Bill Clinton marries Hillary Rodham.
Mid-1970s to 1992, 30- to 40-something Clinton
Allegation:Dolly Kyle Browning, a high school friend of Clinton’s, said she had an occasional sexual relationship with him over about 15 years.
Response: Clinton has not publicly responded.
1978, 32-year-old Clinton
Allegation:Juanita Broaddrick said in 1999 that when Clinton was Arkansas governor, he invited her to a hotel room where she said he kissed, then raped her.
Response: Clinton denied the allegations.
1980, 34-year-old Clinton
Chelsea Clinton is born.
1982, 36-year-old Clinton
Allegation: In 1998, Elizabeth Ward Gracen said she had had a consensual one-night stand with Clinton when he was Arkansas governor in 1982. It was the same year she won the title of Miss America.
Response: Clinton denied the allegations.
1983, 37-year-old Clinton
Allegation: In 1994, 1958’s Miss Arkansas, Sally Perdue, said she had an affair with Clinton the previous year. She claimed that a Democratic staffer told her not to reveal any information, and was warned “they knew that I went jogging by myself and he couldn’t guarantee what would happen to my pretty little legs.”
Response: He has not publicly responded to the allegation.
1991, 44-year-old Clinton
Allegation: Paula Jones said a state trooper asked her to meet then-Arkansas Gov. Bill Clinton in his hotel room. Jones said that Clinton dropped his pants and underwear and told her to “kiss it.” She refused.
Jones sued Clinton for sexual harassment in 1998, prompting the investigation that culminated in the revelation of Clinton’s affair with Monica Lewinsky.
Response: Clinton settled a sexual harassment suit with Jones with no apology or admission of guilt.
1980-1992, 45-year-old Clinton
Allegation: During Clinton’s presidential campaign in 1992, Gennifer Flowers said she had had a 12-year sexual relationship with him.
Response: Clinton admitted to a sexual affair with Flowers while under oath in 1998.
1993, 46-year-old Bill Clinton
Allegation: In 1998, Kathleen Willey alleged Clinton groped her without permission in the Oval Office.
Response: Clinton denied the encounter while under oath in 1998.
1995-1996, 49-year-old Bill Clinton
Allegation:Monica Lewinsky’s affair with Bill Clinton surfaced in 1998, when Lewinsky’s friend Linda Tripp learned that she had signed an affidavit in the Paula Jones case denying her relationship with Clinton. Tripp handed secret recordings of Lewinsky’s account of the affair to investigator Kenneth Starr.
Response: Clinton initially denied the allegations.
“I did not have sexual relations with that woman,” he said famously.
Clinton later admitted to the affair, and the House of Representatives voted to impeach him.
Updated at 11:10 a.m. on Oct. 24, 2016: This story was updated with Jessica Drake’s statements.
Updated at 1:20 p.m. on Oct. 20, 2016: This story was updated with Karena Virginia’s statements.
This article was originally published at 3:35 p.m. on Oct. 19, 2016.
To watch “Trifole” is to fall in love with Langhe, a gorgeous section of the Piedmont region of northern Italy. Famed for its farming, cheeses and wine, this hilly, rural countryside feels cut off from modernity: an agrarian past perfectly preserved in an uncertain present. Among Langhe’s hallmarks is its rich tradition of truffle foraging, which becomes the centerpiece for director Gabriele Fabbro’s gentle drama about an aging truffle hunter, his restless granddaughter and a way of life vanishing before their eyes. Unfortunately, this heartfelt film resonates most strongly through those majestic landscapes, not via the story that unfolds.
Constructed with the elemental purity of a fable, “Trifole” introduces the viewer to Dalia (Ydalie Turk), who’s in her late 20s and visiting her grandfather Igor (Umberto Orsini). The trip is a reluctant one for Dalia. Prompted by her anxious mother Marta (Margherita Buy), she’s taking a break from her stalled life in London to check in on him due to Marta’s concern that his failing memory may require him to abandon his beloved crumbling cottage and enter a nursing home. When Igor initially mistakes Dalia for his daughter — Dalia’s mother — his confusion validates Marta’s worries.
Happy to live out the rest of his days in his remote paradise alongside his loyal dog Birba, who ably assists him in his truffle hunts, Igor is displeased that Dalia has rejected her family roots for the big city. Indeed, Dalia has trouble with her Italian, and when she offers to help him find truffles, he insists his granddaughter doesn’t have the instincts or the calloused hands necessary for the job. But Igor isn’t just adept at sniffing out truffles — he quickly deduces that she’s emotionally lost. (A writing career hasn’t materialized as she’d hoped.) Both of them are at a crossroads, neither sure what the future holds.
Turk and Fabbro, who co-wrote the screenplay, did extensive research on the region, incorporating locals’ stories into the narrative. No matter how fantastical “Trifole” eventually becomes, the filmmakers insist the plot points derive from tales they collected. (To that end, there actually is an Igor, Birba is a real truffle-hunting dog and there’s a 2020 documentary, “The Truffle Hunters,” that correlates with much of what we see.) Not surprisingly, this melancholy picture celebrates and mourns Langhe, a region imperiled by global warming and encroaching industrialization that threaten the once-fecund practice of truffle gathering. Igor’s fading memory proves to be an apt, albeit obvious metaphor for a vocation slowly losing its connection to its past as truffles have emerged as a hot gastronomic trend.
In its early stretches, “Trifole” is almost rudimentary in its storytelling, establishing a familiar generational conflict between Dalia and Igor, who live under the same roof but can’t see eye to eye. When she tries to compliment his picturesque farmland, he curtly responds, “It’s nothing like the soil I knew when I was young.” The tension only escalates once Dalia discovers he’s terribly behind on his mortgage, owing hundreds of thousands he doesn’t have. Igor’s only hope is to find an elusive (and valuable) white truffle that could save him from foreclosure. But he is now too frail to brave the deep woods. Dalia, guided by Birba, must take up the quest.
The film’s themes are simply drawn and easy to follow. Dalia may reside in cosmopolitan London but is, of course, miserable, with wise old Igor immediately diagnosing the cause of her malaise. “You don’t love anything,” he advises sagely. “This will end up hurting you a lot.” Consequently, Dalia’s journey to find the mythical white truffle will also be an opportunity to locate a sense of purpose, coming to appreciate her grandfather in a more profound way. Turk conceives her character as a collection of insecurities and hesitant expressions, making Dalia the perfect candidate to be metaphorically reborn through an unlikely forest adventure in which magical events will occur.
In his sophomore feature, Fabbro, who previously directed the 2021 romantic thriller “The Grand Bolero,” juxtaposes the quiet grace of Igor’s modest life with the cacophony and commercialism of contemporary truffle auctions. But Fabbro’s wistful salute to bygone traditions has significant limitations, especially noticeable in the reductive design of his diametrically opposed main characters. Now in his early 90s, Orsini (best known for Luchino Visconti’s 1969 drama “The Damned”) projects a fragile but resilient gravitas that’s quite affecting, but Igor is reduced to a noble symbol — a simplification that also undercuts Dalia, who is little more than a stand-in for a younger generation ignorant of its country’s history.
Only when Fabbro trains his camera on the Langhe skies, the land stretching off into the distance, does “Trifole” suggest the weight and majesty of a culture in danger of disappearing. You can almost touch the sacred soil of Igor’s youth, a world that he alone remembers.
Beloved animated franchise Toy Story is returning to our screens after six years, with the iconic characters competing against technology for the affection of their kids
08:26, 12 Nov 2025Updated 08:26, 12 Nov 2025
Toy Story 5 trailer has been released
Toy Story fans are heading to infinity and beyond once again as the animated franchise returns for its fifth film – with the first teaser trailer being released. While many fans are queuing up to buy cinema tickets already, some have spotted a huge plot hole in the clip.
The 50-second trailer sees a package arrive at the house of little girl Bonnie, who now owns Buzz Lightyear, Jessie and the other toys, with her mum saying: “Bonnie, there’s a package for you.” As Never Tears Us Apart by INEX plays in the background, we watch as Slinky Dog, Rex, Forky, Mr Potato Head, Mrs Potato Head, Jessie and the rest of the toys tremble in fear as Bonnie unpacks a frog-like tablet.
“In summer 2026, the age of toys is over?” text reads throughout the teaser trailer. We then see Woody and Buzz hug one another in fear as the tablet says, “Hi there, I’m Lilypad. Let’s play.”
Tom Hanks and Tim Allen are set to return as the voices of Woody and Buzz, while The Morning Show’s Greta Lee joins as Lilypad. Anna Faris, Ernie Hudson and Conan O’Brien will be taking on new roles in the cast, which features Joan Cusack, Blake Clark and Tony Hale.
However, after the events of Toy Story 4, some fans have been quick to point out that Woody actually left the rest of the toys at the end of the last film to join Bo Peep as a ‘lost toy’. One wrote on X: “See but like how did Woody get back there after staying with Bo peep such a plot hole.”
Another tweeted: “So Woody came back with the gang after he decided to be an ownerless toy with Bo at the end of the last movie? Toy Story 3 should’ve been the end of the series, 4 & 5 are not needed at all.”
“They’re gonna pretend 4 didn’t exist because Woody is there with the others,” a third wrote, while a fourth replied: “Honestly, at this point, if you’re gonna keep making endless Toy Story movies, don’t do any more bittersweet emotional endings anymore.
“Pixar baited us into believing the franchise would be finished TWICE, so don’t even think about making a bittersweet ending for 5.”
Despite the puzzling character return, many can’t wait for the fifth instalment. “Oh this is perfecttttttttttty,” one fan wrote on X, while another said: “Oooohhhhh we are about to have a TIIIIIIIIMEEEE!!!”
The new film is set to be released in June 2026 in theatres, with star Tim Allen teasing its tech villain last month.”It’s such a great story, I can only tell a little bit of it – it’s a Jessie story,” he said.
He continued: “Tom and I have to reunite and there’s just the funniest thing because there’s a whole bunch of Buzzes involved – and there’s a reason why.
“There’s 100 of me in a separate story and I get to play and have fun. So, the story is good.”
