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Twenty pages into “There’s Only One Sin in Hollywood” by bestselling Pasadena author Rasheed Newson, I had to stop reading. Not because the story and characters were anything less than gripping —I was utterly transfixed. Not because I was unmoved by the setting, the 1950s version of the iconic landmarks where today’s Angelenos, myself included, work, play, eat and drink: Griffith Park, the L.A. Central Library, the Paramount Pictures lot, the Roosevelt Hotel, the Tam O’Shanter in Atwater Village and the Black Cat in Silver Lake, site of America’s first queer riot, also depicted in the book.
No, it was writerly admiration — OK, envy — that stopped me. As I turned the pages, I kept scribbling the same question in the margins. “How did Newson do this?”
How did Newson, author of the 2022 bestseller “My Government Means to Kill Me” and a producer/writer on such popular TV series as “The Chi” and “Bel-Air,” craft a novel populated with a seamless mix of real and invented characters, each with their own true or fictional backstory, personality, career vicissitudes, sartorial style and sexual proclivities, adhering simultaneously to both his novelistic timeline and historically accurate events?
How did Newson seat his fictional protagonist — Aaron Touissant, a Black, closeted gay Hollywood “fixer” employed by Skyline Studios to keep queer actors’ secrets secret — at the same Beverly Hilton ballroom table with Sidney Poitier, Diahann Carroll, Harry Belafonte, Sammy Davis Jr., Lena Horne, Ruby Dee, Ossie Davis, James Edwards, Eartha Kitt and Xavier Barlow, Newson’s invented Black gay movie star who is Skyline’s greatest hope and Touissant’s principal client?
I couldn’t read another page without knowing, and those unread pages were calling to me. So I called Rasheed Newson, whom I’d seen around the L.A. lit scene but had never met, and asked how he’d made the magic of his novel happen.
“I wanted to do a deep dive into Black queer history during the Golden Age of cinema,” Newson said. “The first thing that came to me was Xavier’s character. I decided to make him the 10-years-younger, queer rival of Sidney Poitier, to highlight the acceptable versus unacceptable — meaning, straight versus gay — 1950s Black movie star.
“I read a lot of books on Hollywood’s golden era,” Newson said. “But I was trying to get closer to what people were thinking at the moment, rather than what they reflected back on later. Only newspapers give you that. So I spent hours and hours in the downtown L.A. public library, poring over microfiche, reading the newspapers of the time.”
Author Rasheed Newsom.
(Mariah Tauger / Los Angeles Times)
I asked Newson about the titular “one sin in Hollywood.”
“That sin is disobedience,” he said. “Particularly when your disobedience threatens to upend how the business makes money. In Hollywood you can be an addict, be a philanderer, be outspoken. But don’t disrupt the cash flow.”
Newson’s plot and characters serve the novel’s thesis well. We meet Aaron Touissaint as a brutally bullied “sissy” in a small, small-minded Ohio town. Aaron escapes his torturers, first by rooting himself in the town’s only movie theater open to Black people, and then by lying about his age and enlisting in the Navy at 16. On the Korean battle front, Aaron becomes the aide and the lover of superstar fighter pilot and “model Negro” Horace Dixon. When the war ends and Skyline Studios buys the screen rights to Horace’s life story, Aaron follows Horace to Hollywood.
The movie is canceled. Horace leaves Hollywood and a heartbroken but determined Aaron behind. Hired as a Skyline security guard, Aaron is promoted to fixer, keeping himself and Skyline’s A-listers closeted by any means necessary. To that end, Aaron marries Kimberly, who becomes his poised, self-contained “beard.”
At the top of Aaron’s client roster is Xavier Barlow, Skyline’s new, hot rising star and Aaron’s new, hot crush. “The bond between us was never conventional,” narrator Aaron tells us. “Off and on for nearly a decade, it was my duty to keep [Xavier’s] nose clean. … He challenged me to admit who and what I am. And I fell in love with him.”
As secret same-sex love stories all too often do, Aaron’s love for Xavier, and Xavier’s one-man campaign to mitigate Hollywood’s homophobia, come to a tragic and suspicious end. Soon after Xavier publicly protests the studio’s homophobic rewrite of a movie script he intended to serve as his coming-out announcement, a truck crashes into his car on Wilshire.
“This was no accident,” Aaron realizes. “Xavier was hunted down.” With his best friend, Diahann Carroll, and a sizable contribution from Sidney Poitier, Aaron organizes the funeral, attempting to redeem the reputation he was hired to protect. “The news reports following Xavier’s death impeached his character,” Aaron says. “The implication was that gay men naturally had messy lives and untimely deaths. … Confidential magazine went as far as to print that “the driver of the truck [that killed Xavier] could well have been one of Xavier’s spurned male lovers.”
“Furious at the coverage,” Aaron narrates the story, “Diahann asked me, ‘Why don’t they print the lovely things I have to say about Xavier?’ ”
“I said, “They never will. Xavier fought the studio, and everything you’re reading is part of his punishment.”
The erasure of gay Black Hollywood is really the point of this imaginatively crafted, stunningly tense, historically significant sophomore novel. Newson’s impressive gifts for story, for writing the erotic and the noir, and for rooting himself in his adopted city are on magnificent display here. By smoothly merging the true and the invented stories and characters of 1950s Hollywood, Newson alerts us to the increase in racism and homophobia evident in the entertainment business, and in the U.S., today.
After a complete shakeup at CBS’ “60 Minutes,” ousted correspondent Cecilia Vega said she had been facing pressure to insert political bias into her stories and dealing with censorship.
“I very much fear what comes next for … the future of the legendary broadcast,” Vega said in a social media post on Thursday referring to “60 Minutes.”
The latest shakeup follows multiple controversial moves by Weiss, who’s set on remaking the institution long defined by tradition. She arrived at CBS News in October with no television experience, installed by Paramount Chief Executive David Ellison after he acquired her digital news outlet, the Free Press, with a mandate to change the network.
Ellison’s pronouncements that CBS News needs to move more to the political center has led to the perception that the network is trying to placate Trump with more positive news coverage, even as “60 Minutes” has remained tough with its White House reporting.
“Our responsibility is to preserve that legacy and vital mission by building a show that thrives in the 21st century,” wrote Weiss in her note to staff. “That requires a new approach: expanding ’60 Minutes’ beyond a one-hour television broadcast, deepening its role across CBS News.”
Vega claims, in her statement, that “in recent months, my producing teams and I have experienced efforts to insert political bias into our stories.” She also said that reporting teams are holding back on submitting specific story pitches, due to the “fear of the internal repercussions.”
“Let’s call this what it is: censorship, both imposed and self-driven,” Vega wrote. “It is dangerous for the show and dangerous for democracy.”
She said that in working at “60 Minutes” she’s had to keep stories rooted in fact and away from “questionable editorial suggestions.”
“I know from many conversations with colleagues that many producing teams and correspondents working on the show today have had to fight to maintain editorial independence with regularity,” Vega said. “I am far from the only ’60 Minutes’ correspondent who has asked herself, ‘What is my personal red line? How much can I push back before I pay the price?’”
In a statement, a CBS News representative said, “We respect Ms. Vega and her contributions, but her claims are not based in reality.”
Vega joined the newsmagazine in 2023, becoming the program’s first Latina correspondent. Before that, she worked for over a decade at ABC as the network’s chief White House correspondent and co-anchoring “Good Morning America.”
Several journalists like ABC’s John Quiñones and former Univision anchor Jorge Ramos offered words of support for Vega’s remarks. Quiñones commented, “Journalism is stronger because of your voice, your courage and your story-telling, Cecilia,” and Ramos wrote in Spanish that he respects and admires her.
At this year’s Sundance Film Festival, filmmaker William D. Caballero won the NEXT Special Jury Award for Creative Expression for his intensely personal, multimedia feature debut, “TheyDream.” During his acceptance speech, he made a powerful statement.
“In case ICE were ever to harm me or kill me, this film will serve as the truth of who I am, and who my family is, before Fox News or this administration ever makes us out to be the villain[s],” he recalls paraphrasing during a recent interview.
Blending live action footage with different animation techniques — as well as the 3-D-printed miniatures that have been a fixture of Caballero’s work for more than a decade — “TheyDream” honors the filmmaker’s Puerto Rican loved ones, particularly his mother, Milly.
She collaborated with him in the making of this one-of-a-kind portrait of loss, resilience and shared healing. Their heartfelt exchanges throughout this process are also shared on-screen.
“Seeing her light up and become transformed throughout was just invigorating, because it allowed us to talk about heavy things and bond throughout the process of creating a story that’s personal [for us] both,” Caballero says. “It’s like, ‘Let’s guide each other and instead of me taking your stories and making magic with them, let’s make this magic together.’”
The brilliantly unconventional piece of autobiographical storytelling will screen as the closing night film of the Los Angeles Latino International Film Festival (LALIFF) on Sunday. Recently, John Leguizamo and Ben DeJesus joined the film as executive producers.
Starting with his 2013 short film “How You Doin,’ Boy? Voicemails From Gran’pa,” Caballero has used miniatures to immortalize his loved ones. That bite-sized introduction to his Boricua grandfather’s humorous wisdom evolved into the HBO Latino show, “Gran’pa Knows Best.”
“When I started working on ‘Gran’pa Knows Best,’ I knew that 3-D printing was this new technique,” he says. “But I’d never seen anyone that looked or sounded like my grandfather in it. I realized that it could be a really creative method to preserve his voice and his story. “
Then came the 2017 short “Victor & Isolina” about his grandparents’ relationship, and more recently in 2022, he debuted “Chilly and Milly,” which focused on his parents. Some of the sets from these shorts, tiny replicas of places familiar to Caballero, and a few of the miniature characters were reused in “TheyDream.”
“Being able to create these things in miniature is almost like getting back in touch with the idea of play,” Caballero explains. “As a child, you invent lots of stories all the time. But now as an artist, I’m able to tell stories that touch upon reality and painful memories, but also hopes and dreams in a way that hearkens back to the innocence of childhood.”
Filmmaker William D. Caballero will screen “TheyDream” on Sunday at the Los Angeles Latino International Film Festival (LALIFF).
(William D. Caballero)
“TheyDream” is a culmination of the eclectic and nimble artistic practice that Caballero has developed since he studied digital art at the Pratt Institute in Brooklyn.
“I’d always just been attracted to new ways of expressing myself and expressing stories. And I say this both in a way that brings me pride, but also brings me a bit of a headache, because I don’t think I’ll ever be a conventional filmmaker,” he says, laughing.
Still, working outside the margins of traditional moviemaking requires great adaptability.
When Caballero received funding for “TheyDream” in 2021, the money wasn’t enough to conceive it as he had originally envisioned it: entirely told with 3-D-printed figures in physical sets. The lack of resources forced him to rethink his approach, and he opted for hiring two Puerto Rican animators, Julisse Tinoco and Frank Martinez, each of whom animate in distinct styles, to help him create some of the sequences needed.
“This all goes back to the resourcefulness that I learned when I was young,” Caballero says. “When you’re born Latino and low-income in this society, you can’t let yourself be written off or you’re already defeated before you even begin.”
Caballero grew up in housing projects in New York City, and later in a trailer in his grandmother’s backyard in Fayetteville, N.C. Both of his parents were disabled.
Filmmaker William D. Caballero poses as his father for a reference shot in the making of his 2026 film “TheyDream.”
For Caballero, he says the arts have provided an escape that he “needed in order to survive and not feel weighed down by American consumerism, by poverty and by feeling trapped.” Whenever grief has perturbed him, Caballero has processed it through creativity.
With “TheyDream,” he wished to extend that vehicle for self-reflection to his mother. The film addresses complicated familial bonds and his mother’s experience caring for others.
“Throughout the years, we’ve lost several of my family members that we were both close to, but my mother especially,” he says. “She feels their absence much stronger than I do. I live in Los Angeles, my mother still lives in North Carolina. Knowing that she was alone in the mobile home, it just made me feel like, ‘That can’t be good for her.’”
His mother, he says, deals with self-esteem issues because her identity has for so long been reduced to being a caretaker for elderly relatives, who, inevitably, pass away — leaving her feeling like a failure. In reality, it was thanks to her devotion that they added years of life.
Caballero’s mother was at the Sundance premiere of “TheyDream,” where she witnessed how others saw her through the film she helped her son craft.
“I wanted her to feel like, ‘Mom, look at all these people that are clapping for you. They’re clapping for you because you are a hero. You deserve to hold yourself high and be strong and know that there’s something incredible in your story that’s indicative of the stories of many low-income Americans, regardless of race,’” Caballero says, visibly moved.
A prolific and highly regarded artist (he is a 2018 Guggenheim Fellow), Caballero has several other projects in the works that he’s trying to shop around. One of them is an episodic series titled “Second Fiddle,” about a 15-year-old Latino boy who gets accepted to a prestigious summer youth orchestra camp — and whose overbearing mother decides she’s going to stay in the camp with him.
Caballero’s mother, Milly, got the animated treatment in “TheyDream.”
“I never saw a Latino playing violin on TV or the big screen. I didn’t see any quirky, nerdy, artsy Latino kids like I was,” he says. “And I felt in my core that [it] was just wrong and something that I could change.”
Another project, “Raúl Playing Game,” is “an adult version of Pixar’s ‘Inside Out,’ ” that takes place in the mind of a closeted bisexual man. Caballero himself is bisexual. In 2022, “Raúl Playing Game” was selected for the LALIFF Inclusion Fellowship, which provided support for a short film version that serves as proof of concept for a potential TV show.
“I always wanted to make sure that I was telling authentic stories even if not necessarily always positive stories,” he says. “I’m very happy that I never lost track of that. Because I do believe that we need to tell our own stories, in our own unique voices, before someone else does it for us.”
What’s 2,030-feet long-by-167-feet wide and blue all over? If you guessed the Lincoln Memorial Reflecting Pool, you’re right!
Bonus points for triggering someone in your immediate orbit, because ever since President Trump announced his intention to apply blue paint to the basin of architect Henry Bacon’s 1923 pool, the mere mention of the project can make certain people’s heads explode. To wit, a lawsuit filed this month in district court by the Cultural Landscape Foundation and a former Park Service landscape architect, Charles Birnbaum, claims Trump’s actions have caused Birnbaum to suffer “aesthetic injury.”
The phrase might sound humorous at first read, but anyone who cares about art, architecture and the experience of shared public space knows there’s nothing funny about it. We’ve all felt the empty sorrow of staring into the abyss of a boxy Walmart superstore, and experienced a deep malaise of the soul when driving past an endless crush of fast food chains on the outskirts of a major metropolitan area.
It’s doubtful this sadness is shared by Trump, for whom an “aesthetic injury” might best be represented by a McDonald’s without its golden arches. Plus, our president clearly thinks a great deal of good will come from painting the reflecting pool at the center of the National Mall American Flag Blue.
Only a few days ago Trump posted what I can only assume was an AI-generated image of the final product on Truth Social. The blue in question is shockingly bright — like the sky over the Aegean Sea at noon on a cloudless day. That kind of blue can be breathtakingly beautiful, but in this case it swallows up everything around it, including the Lincoln Memorial and the Washington Monument, which it was built to reflect.
The blue pool, in other words, is the main event — and that is not what was intended by its creators. Indeed, Birnbaum’s lawsuit notes the value of various design choices including, “the grey, achromatic basin of the Reflecting Pool as the source of the pool’s profound reflective depth.”
The lawsuit continues, “The ongoing resurfacing of the basin in vivid blue has materially degraded Mr. Birnbaum’s aesthetic experience. Mr. Birnbaum’s aesthetic enjoyment of the Reflecting Pool — as a historic designed landscape whose character he has documented, championed, and personally appreciated over many years — is being concretely harmed by Defendants’ ongoing alteration of its character defining features.”
Many other critics and vocal members of the public have claimed similar harm resulting from the numerous renovations Trump is making in the nation’s Capitol — mostly without court approval or congressional oversight — including his demolition of the White House’s East Wing, his construction of a massive ballroom to replace it, the building of a towering triumphal arch, and the creation of a Hero’s Garden in a public park space along the Potomac river.
Painting the Reflecting Pool American Flag Blue may not be the most intrusive of these impulsive, self-aggrandizing acts, but it was the pigment that broke the camel’s back.
I’m Arts editor Jessica Gelt, in blue. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Gustavo Dudamel conducting the 2025-26 season opener at Walt Disney Concert Hall on September 25.
(Timothy Norris/Los Angeles Philharmonic)
Gustavo Dudamel and the Los Angeles Philharmonic The departing maestro and his colleagues are in the homestretch and it’s a busy one. This weekend, there are performances of world premieres of Roberto Sierra’s “Estudios Sinfónicos” (Friday and Sunday) and Angélica Negrón’s “Mundillo (Little World)” (Saturday, featuring YoYo Ma). Both new works are paired with Richard Strauss’ “Ein Heldenleben, Op. 40.” On Thursday, Dudamel celebrates the musicians of the L.A. Phil with an eclectic program including compositions by Rossini, Paganini, Mozart, Mendelssohn, Tchaikovsky and Philip Glass, plus the world premieres of “Bravo Gustavo!” by John Williams and Gabriela Ortiz’s “Mujer Arena.” Strauss, 11 a.m. Friday; 2 p.m. Sunday; Yo-Yo Ma, 8 p.m. Saturday; Celebrating the Musicians of the L.A. Phil, 8 p.m. Thursday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Grangeville A 2025 drama by the bard of Idaho, Samuel D. Hunter, the play considers the complex relationship of two half-brothers connecting virtually to discuss the care of their ailing mother. Tim Cummings and Jeff LeBeau star. Directed by John Perrin Flynn. Through July 12. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica. ruskingrouptheatre.com
How to Have Sex Again The Rebel & the Warrior, a new theater producing collective, present their first L.A. production, the world premiere of a romantic comedy by Louis Reyes McWilliams. 8 p.m. Friday, Saturday, Sunday ; 7:30 p.m. Thursday; 8 p.m. June 5; 3 and 8 p.m. June 6; and 7:30 p.m. June 7. June Odyssey Theatre, 2055 S. Sepulveda Blvd. sanguinenyc.com
Jodie Landau The composer-performer presents the West Coast premiere of “Performance of Self,” combining memoir, concert, cabaret with original chamber rock compositions, backed by a six-piece ensemble. Directed by Diana Wyenn. Part of OperaFest LA. 8 p.m. Friday and Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Let’s Get It On: The Wearable Art of Betye Saar The exhibition highlights the role of costume design in the artist’s life and work, including more than 200 objects, including photographs, drawings, garments, jewelry, artworks and historical materials from the 1950s-1970s. Opening reception, 5-7 p.m. Friday; exhibition continues through Aug. 22. Roberts Projects, 442 S. La Brea Ave. robertsprojectsla.com
Shelley Conducts America @ 250 Pacific Symphony concludes its season with incoming new music director Alexander Shelley conducting the premiere of Peter Boyer’s “American Mosaic,” with accompanying video imagery by award-winning photographer Joe Sohm. 8 p.m. Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa. pacificsymphony.org
Leslie Uggams in 1972’s ‘Black Girl.’
(UCLA Film & Television Archive)
UCLA Festival of Preservation “Don’t miss your chance to see these rarely screened films on the big screen where they belong,” writes former Times movie critic Kenneth Turan in his preview of the event. The 22nd festival, which opens with Ossie Davis’ 1972 drama “Black Girl,” presents 11 feature films, four television programs and 30 short works, cartoons and newsreels, all newly preserved and restored by the UCLA Film & Television Archive and its partners and funders. Through Sunday. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
SATURDAY
Actor Alec Baldwin will narrate “Lincoln’s Portrait,” part of Pasadena Symphony’s America @ 250 concert.
(Pasadena Symphony)
America @ 250 The Pasadena Symphony’s season ending concert, celebrating the nation’s sesquicentennial, includes John Williams’ “Liberty Fanfare,” George Gershwin’s “Concerto in F for Piano and Orchestra,” and Aaron Copland‘s “Appalachian Spring” Suite and “Lincoln Portrait,” the latter narrated by actor Alec Baldwin. 2 and 8 p.m. Ambassador Auditorium, 131 S. St. John Ave., Pasadena. pasadenasymphony-pops.org
Baroque in Bloom Soprano Amanda Forsythe joins the Los Angeles Chamber Orchestra for arias from Handel’s “Giulio Cesare” and Bach’s “Wedding Cantata.” The program also includes LACO’s principal bassoon Andrew Brady performing “Vivaldi’s Concerto for Bassoon in A minor, RV 497,” Telemann’s “Don Quixote Suite” and Biber’s “Battalia.” 7:30 p.m. Saturday. Rothenberg Hall, the Huntington, 1151 Oxford Road, San Marino; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
From Hell to Hollywood: Films Music’s First Golden Age and the Émigré Community The Scott Dunn Orchestra performs the music of Arnold Schoenberg, Max Steiner, Erich Wolfgang Korngold, Franz Waxman, Dimitri Tiomkin, Bronisław Kaper, Kurt Weill, Ernest Gold and Miklós Rózsa. 7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Life, Liberty, and Los Angeles Through historical and contemporary objects, media, art and community collaborations, the exhibition brings together stories of diverse Angelenos and demonstrates the ways their hopes and dreams built the city while reflecting the values of a burgeoning nation. Opening May 30-Jan. 31. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org
Sydney Mancasola as Pamina in LA Opera’s 2026 presentation of “The Magic Flute.”
(Cory Weaver)
The Magic Flute LA Opera music director James Conlon’s final production will be Wolfgang Amadeus Mozart’s fan favorite about a prince, a princess and an enchanted instrument. Starring Miles Mykkanen in his LA Opera debut as Prince Tamino, Sydney Mancasola as Princess Pamina, Kyle Miller as the sidekick Papageno, Aigul Khismatullina as Queen of the Night and Kwangchul Youn and Sarastro. Through June 21 Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
The Satie Project The artists of Piano Spheres perform the complete four-hand works of French composer and pianist Erik Satie, plus seven newly-commissioned response pieces, alongside the experimental puppetry David Gordezky in what promises to be a truly zany show. 8 p.m. Saturday; 2 p.m. Sunday. Boston Court Pasadena. 70 N. Mentor Ave., Pasadena. bostoncourtpasadena.org
SUNDAY
Bleak Week: The Cinema of Despair Isabelle Huppert, Ari Aster, Denis Villeneuve, Werner Herzog and many others are the scheduled guests for the fifth edition of the global festival. The L.A. festivities, featuring 48 films from 18 countries, start with Béla Tarr’s 1994 film “Sátántangó” (2 p.m. Sunday at the Aero). Through June 7. Aero Theatre, 1328 Montana Ave., Santa Monica; Egyptian Theatre, 6712 Hollywood Blvd.; Los Feliz Theatre, 1822 N Vermont Ave. americancinematheque.com
Exhibition photography for “Marilyn Monroe: Hollywood Icon” at the the Academy Museum of Motion Pictures in Los Angeles.
(Emily Shur / Academy Museum Foundation)
Marilyn Monroe: Hollywood Icon A reevaluation of the actor’s artistry and image-making, the exhibition presents hundreds of original objects, including posters, portraits, photographs, production documents, letters, and rarely seen personal materials. A companion screening series also kicks off this week. Times culture critic Mary McNamara attended the opening and wrote about the enduring mystery that still surrounds the life and legacy of the film star 100 years after her birth. “Gentleman Prefer Blondes,” 6:30 p.m. Sunday; “The Asphalt Jungle,” 7:30 p.m. Monday, with guests author and filmmaker Mark A. Fortin, actor Jack Huston, author, filmmaker and actor Joshua John Miller, and journalist Nancy Jo Sales; “Niagara,” 8 p.m. Wednesday; and “All About Eve,” 7:30 p.m. Thursday, with guest Vanity Fair contributing editor Lorraine Nicholson. Screening series runs through July 3; exhibition continues through Feb. 28. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Museums of the Arroyo Day The theme is “Life in the Past Lane” as five local institutions celebrate Arroyo Culture with a day of free admission. Noon-4 p.m. The Gamble House, 4 Westmoreland Place, Pasadena; Heritage Square, 3510 Pasadena Ave., L.A.; Los Angeles Police Museum, 6045 York Blvd., L.A.; Lummis Home, 200 E. Avenue 43, L.A.; Pasadena Museum of History, 470 W. Walnut St., Pasadena. museumsofthearroyo.com
Now Be Here’s first photograph in Los Angeles, 2016, Hauser & Wirth DTLA.
(Isabel Avila & Carrie Yury, courtesy of Kim Schoenstadt, Now Be Here)
Now Be Here: 2026 Los Angeles Anniversary A decade ago, the organization launched as a means to “give visibility to women and non-binary artists, bringing equity to the art world,” and was commemorated by the above group photo. To mark the moment, Now Be Here and OXY ARTS present a free day of events (including a new community photo) open to all on the Occidental College campus. 9 a.m.-3 p.m. Occidental College, 1600 Campus Road. oxyarts.oxy.edu/events
Tierra Craft Contemporary’s 4th Clay Biennial focuses on the work of Latinx, Indigenous and Black artists, emphasizing their deep connections to the geographies that yield the materials they work with. Also opening this week is “Earthen Comforts: Airing Earth,” a courtyard installation led by architect Liz Gálvez, the latest partnership in the ongoing experimental architectural project curated by M&A (Materials & Applications). Sunday-Oct. 25. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org
TUESDAY
The Sun Rises in Harlem: Black Brilliance and the Harlem Renaissance The performing arts collaborative MUSE/IQUE, led by artistic and music director Rachael Worby, pays tribute to this transformative era in American arts featuring the music of jazz greats such as Duke Ellington, Cab Calloway and Bessie Smith. With Kecia Lewis, Sy Smith, Leo Manzari, DC6 Singers Collective and the MUSE/IQUE Orchestra. 7:30 p.m. Tuesday-Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 and 7:30 p.m. June 7. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. muse-ique.com
WEDNESDAY
Colburn Celebrity Recital: Joshua Bell/Jeremy Denk Frequent collaborators, the acclaimed violinist and pianist perform works by Schubert, Grieg, Ives, Ysaÿe and Ravel in their first joint appearance at Disney Hall since 2010. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY
Bodytraffic The contemporary dance troupe closes out a 20-year run with its final three hometown shows, including works by choreographers Fernando Magadan, Cayetano Soto, Joan Rodriguez, Richard Siegal and Trey McIntyre. 7:30 p.m. Thursday and June 4; 2 p.m. June 6; the Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Arturo Sandoval The legendary trumpeter and bandleader, a protégé of jazz great Dizzy Gillespie, performs an eight-show residency at the Blue Note. 7 and 9:30 p.m., Thursday-June 7. Blue Note LA, 6372 W. Sunset Blvd. bluenotejazz.com
Spectacular Balanchine! American Contemporary Ballet continues its deep dive into the master choreographer’s work with dances from “Who Cares?,” “Stars and Stripes,” “Western Symphony” and “Union Jack” to music by George Gershwin, John Philip Sousa and Hershey Kay. 8 p.m. Thursday-Saturday, through June 20. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com
Arts anywhere
New and recent releases of arts-related media.
The book jacket for “Miles: The Autobiography.”
(Simon & Schuster)
Miles: The Autobiography May 26 would have been jazz legend Miles Davis’ 100th birthday and Simon & Schuster has released a centennial edition of his award-winning 1989 memoir, in which he reflects on his career, relationships and battles with racism and addiction. Also check out filmmaker Stanley Nelson’s 2020 documentary, “Miles Davis: The Birth of Cool,” featuring studio outtakes from Davis’ recording sessions, rare photos and interviews with Quincy Jones, Carlos Santana, Clive Davis, Wayne Shorter, Ron Carter, Davis’s family and other notables. Simon & Schuster: 448 pages, $23; “Miles Davis: Birth of the Cool,” streaming on PBS platform.
— Kevin Crust
Culture news and the SoCal scene
Daniel Harding, Los Angeles Philharmonic’s new music director, visited In-N-Out among other iconic L.A. locations upon his arrival Tuesday.
(Kayla Bartkowski / Los Angeles Times)
The big news of the week was the long-awaited, much-speculated-upon announcement of who will become the next music director of the Los Angeles Philharmonic when Gustavo Dudamel departs later this summer to take his new role at the New York Philharmonic. Surprise (or rather not too much of a surprise depending on who you are and how closely you were watching), the L.A. Phil’s 12th music director will be Daniel Harding, a 50-year-old, Oxford-born conductor and part-time Air France pilot who made his U.S. debut as a young prodigy conducting the L.A. Phil at the 1997 Ojai Festival, writes Times classical music critic Mark Swed.
Gustavo Dudamel, the current Los Angeles Philharmonic music director, left, hugs newly announced L.A. Phil music director Daniel Harding, right, at Dodger Stadium.
(Kayla Bartkowski / Los Angeles Times)
The Times scored an exclusive ride-along with Harding the day after the L.A. Phil’s big announcement. His day included stops at In-N-Out Burger, the Beckmen YOLA Center and the Hollywood Bowl. The evening was spent at a Dodgers game with Dudamel where the two sported matching jerseys emblazoned with their names.
Artist Diana Thater’s new video projection at LACMA’s David Geffen Galleries will debut in the fall.
(Carlin Stiehl / For The Times)
We also got a first look at a new video installation scheduled to light up the underside of LACMA’s new David Geffen Galleries where it forms a bridge over Wilshire Boulevard. Designed by artist Diana Thater, the installation was filmed in Claude Monet’s garden in Giverny, France, and will officially debut in the fall, after which it will run from dusk to dawn, 365 days per year.
Times contributor Jane Horowitz sat down with photographer Catherine Opie to chronicle a moment in time that finds Opie experiencing “one of the most visible stretches of her career, with work appearing simultaneously across Europe and Los Angeles. This includes a career-spanning survey at London’s National Portrait Gallery that will travel to Edinburgh’s Royal Scottish Academy, as well as exhibitions in Kassel, Germany, and Trondheim, Norway. Closer to home, a new exhibit, ‘Holding Blue,’ opens May 28 at Regen Projects.”
Alicia Keys’ musical “Hell’s Kitchen” staged its L.A. premiere at the Hollywood Pantages Theatre.
Joy Behar is trading her usual spot at “The View’s” roundtable for the spotlight in one of London’s West End theaters.
The comedian, who is one of the talk show’s longest-running hosts, is taking a temporary leave from the daytime program to take her play, “My First Ex-Husband,” overseas for the first time. The 83-year-old TV personality announced her break on Tuesday, on the podcast, “Behind the Table,” a companion program of “The View.”
“I fly to Paris this week, and then I go take the Chunnel to London after a week, and I’ll be in London a second week doing my play, ‘My First Ex-Husband,’ at the Boulevard Theatre in the West End,” Behar said on the podcast.
Behar confirmed she has already pre-taped several installments of “The Weekend View,” ahead of her absence. She will miss the next two weeks of tapings. Her last appearance on the weekday edition of the show is Thursday.
In Behar’s absence, several “View” regulars will step in. Brian Teta, the show’s producer, said on the podcast that Sheryl Underwood, Kara Swisher and Ana Navarro will make appearances in the coming weeks. Whoopi Goldberg, another one of the talk show’s staple personalities, will also be coming in on Fridays, which is her usual day off.
“I don’t think she knows yet, but I’ll let her know that she’s going to be here,” Teta joked of Goldberg’s new responsibility.
Behar’s play, “My First Ex-Husband,” first debuted off-Broadway in New York in 2025. The comedian wrote the show over the span of 12 years. The story follows a rotating cast who tell chaotic stories about past relationships. The play is set to debut in the coming weeks, according to Behar. She and Jackie Hoffman will be two American narrators for the show, while two British actresses perform the scenes.
May 28 (UPI) — The story of the Cateura Recycled Instruments Orchestra, a Paraguayan music project born in a vulnerable community surrounding the Cateura landfill in Asunción, will reach U.S. stages this Saturday with the world premiere of Basura, a musical produced by Gloria Estefan at the Alliance Theatre in Atlanta.
The production, inspired by the internationally recognized group led by Favio Chávez, tells how children and young people from low-income backgrounds learned music using instruments they built themselves from recycled materials recovered from the landfill.
“Taking the story of real people and of a country like Paraguay here in the United States are stories that are still waiting to be discovered, so it remains an important undertaking,” Chávez said in a recent interview with Paraguayan news outlet NPY.
“We have to understand that this musical is also a major risk for these producers,” Chávez said.
The musical will feature original music by Gloria Estefan and her daughter, Emily Estefan, as well as elements connected to Paraguayan culture, including phrases in the Guaraní language, one of the most widely spoken Indigenous languages in South America, and compositions in 6/8 rhythm, characteristic of Paraguayan polka.
“These people are placing Paraguay on one of the best and most important artistic stages in the world,” Chávez said.
The production is based on the story of the Cateura Orchestra, founded by Chávez in 2006 in an area marked by some of the country’s highest levels of poverty.
The community is home to nearly 150,000 people, and residents face extreme vulnerability, periodic flooding caused by overflows of the Paraguay River and a lack of basic services and adequate infrastructure.
The project uses recycled instruments that imitate violins, violas, cellos, double basses, guitars, saxophones, trumpets and percussion instruments, all made from waste recovered from the landfill.
“The world sends us trash, we send back music,” became one of the project’s emblematic phrases.
In addition to teaching music, the initiative seeks to provide educational and social opportunities to vulnerable youths.
According to Chávez, the program also includes scholarships and academic support so members can continue their studies and gain access to better job opportunities.
“We do not stop at simply bringing the kids onto a stage to receive applause, but we also support them so they study something,” he explained. “Most of them maybe music, but if not music, then another career that allows them to have a better future.”
The Cateura Orchestra gained international recognition following the 2015 documentary “Landfill Harmonic” and shared stages or collaborations with artists including Metallica, Megadeth, Stevie Wonder and Damon Albarn, leader of Gorillaz and Blur.
Metallica invited the Paraguayan group to open part of its South American tour in 2014, while members of Megadeth participated in project activities and presentations connected to the documentary.
Basurawill run from May 30 through July 12 in Atlanta. The production is directed by Michael Greif, known for productions such as Rent and Dear Evan Hansen, with a script by Karen Zacarías and musical supervision by Alex Lacamoire, a Grammy and Tony Award winner for Hamilton.
Gloria Estefan said in previous interviews that she was deeply moved after watching Landfill Harmonic and decided to become personally involved in the project because of its message of resilience and social transformation through music.
Marilyn and Her Books: The Literary Life of Marilyn Monroe
By Gail Crowther Gallery Books: 304 pages, $30
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
In 1951, not long after her breakthrough appearances in “All About Eve” and “The Asphalt Jungle,” Marilyn Monroe went to college: She enrolled in a pair of 10-week classes at UCLA’s adult-extension program, both covering literature. Looky-loos peeked through the windows. Some likely assumed a publicity stunt. But Monroe’s passion for books was sincere. An orphan who bounced around upward of a dozen foster homes and orphanages regretted that she’d never graduated high school, she moved often in her life but always made sure her books came wherever she went.
Gail Crowther’s “Marilyn and Her Books” is the story of that library, though more precisely it’s about what we’ve projected upon Monroe when we’re asked to consider that she had one. Our prevailing cultural reflex, then and now, is skepticism larded with misogyny. A famous 1955 photo of her sitting in a Long Island playground reading James Joyce’s “Ulysses” — one of 50 known photos of her reading — is routinely scoffed at whenever it’s posted online. (Crowther gathers up a sampling of misogynistic comments.)
But Crowther’s sleuthing determines that Joyce’s novel was a regular companion of hers, and she was particularly enchanted with Molly Bloom’s closing soliloquy. As an actor who had to be exceedingly smart to play dumb blondes, she used the shoot to make “a profound statement about her social positioning.”
Marilyn Monroe reads the book “To the Actor: On the Technique of Acting” by Michael Chekhov in a quiet moment at the Ambassador Hotel in New York.
(Ed Feingersh / Michael Ochs Archives / Getty Images)
Writing about Monroe’s reading habits demands a lot of speculation on the part of Crowther, who’s written engaging books on Dorothy Parker, Sylvia Plath and Anne Sexton. We know a lot about the star’s library — when she died in 1962, she owned more than 400 books, diligently cataloged and auctioned in 1999. There’s documented marginalia and scribblings that suggest a serious reader, and anecdotes about her reciting poems at parties, reading Proust on set, and expounding on Whitman, Dostoevsky and Tolstoy. She had strong opinions about Hemingway: “Those big tough guys are so sick, they aren’t even all that tough. … They always want to kill something to prove themselves.”
And Crowther literally has the receipts from Los Angeles and Beverly Hills stores like the Pickwick Book Shop, Martindale’s Book Store and Hunter’s Books, where she purchased titles that were practical (“How to Live With a Cat”), relatable (“Sister Carrie”) and weighty (a three-volume life of Sigmund Freud).
Her third husband, playwright Arthur Miller, suggests the purchases were largely a pose: In his memoir, he wrote that aside from some short stories and Colette’s “Cheri” she likely never read anything start to finish. It would be nice to know more, but as Crowther pointedly observes multiple times, journalists never thought to ask her about her reading. When the subject of literature came up, Monroe seemed compelled to play to ditzy expectations. After telling interviewers she wanted to play Grushenka in an adaptation of “The Brothers Karamazov,” they asked her if she could spell the character’s name. She demurred.
A clearer historical record might have blunted the sexist comments that have stalked her, and given Crowther an opportunity to do less guesswork. “Marilyn and Her Books” is scaffolded with 15 chapters, each dedicated to a question that usually can’t be answered in full: “Did Marilyn read all her books?” (probably not, who does?), “Did Marilyn suffer from imposter syndrome?” (probably, who doesn’t?). Some questions feel like attempts to pad the pages (“Are there any surprising omissions from Marilyn’s personal library?” “How did Marilyn’s reading compare to that of her contemporaries?”). The elegiac opening and closing chapters, in which Crowther imagines visiting Monroe’s home and scanning her shelves, also add to the feeling that too much is being extrapolated out of not enough information.
Curiously, the book also dwells little on Monroe’s own literary ambitions. Crowther shares a few scraps of despairing, Plathian verse, but almost entirely neglects her unfinished posthumous memoir, published in 1974 as “My Story.” Its relative shapelessness, along with its use of a ghostwriter, doesn’t bolster her literary credentials, but its existence points to Monroe’s ambition to have them.
And there’s plenty to say about the literary work that Monroe herself has inspired, including Joyce Carol Oates’ 2000 masterpiece, “Blonde,” or Sharon Olds’ poem “The Death of Marilyn Monroe,” in which a man who carted away her body is shocked into the reality of “a woman breathing, just an ordinary woman breathing.” Writers have afforded Monroe the grace and status in death that she was rarely afforded in life.
But the core question that drives the book, the subject of a central chapter, is valuable: “Why is Marilyn Monroe’s reading ability doubted?” Among other things, Crowther argues, Monroe suffered from a “poisonous cocktail of patriarchy, industry decisions, cultural stereotypes, social expectations, Marilyn’s unwitting complicity,” and more. Crowther keeps her focus narrowly on Monroe, but it doesn’t require a substantial mental leap to see how Monroe is just one example of a cover-model-worthy woman artist being told she’s a try-hard for demonstrating intelligence. (To pick just one example, the pop star Dua Lipa’s book club has a demonstrated high-literary bent, selecting Tommy Orange, Olga Tokarczuk and Percival Everett, which got her mocked as “an alien spaceship touching down in a medieval peasant village.”)
“Marilyn’s reading formed a concerted effort to overcome any inadequacies she perceived in herself,” Crowther writes. That, too, made her a lot like anybody who goes to books to satisfy gaps in our knowledge. We can do that in private, to avoid embarrassment. For Monroe, though, the effort was always public and always suspect — the culture was attuned to see any book in her hand as a prop. For most people, reading is an escape route. For Monroe it only led to one more cul-de-sac.
That sound of breaking glass? It’s Hong Kong-born conductor Elim Chan, 39, shattering a particularly stubborn ceiling after being named the first woman to lead the San Francisco Symphony in its 115-year history. Her title is currently Music Director Designate, and when she officially steps into the job of music director in September 2027, she will become the first woman to lead a major American orchestra.
Chan arrives as the orchestra’s 13th music director at a precarious moment for the organization, which in 2024 was rocked by the resignation of its last music director, Esa-Pekka Salonen, who declined to renew his contract after five years and said he didn’t share the same vision as the orchestra’s board of governors. Like many arts organizations, the symphony is still struggling with a pandemic-precipitated drop in attendance and a shrinking budget.
Fans will get their first chance to see Chan in action on June 5 and 6 when she’ll take the stage in a program including Richard Wagner’s Prelude from “Tristan und Isolde,” Hector Berlioz’s “Les Nuits d’été” wih mezzo-soprano soloist Sasha Cooke, and Claude Debussy’s “La Mer.”
“In Elim Chan, we have found a musician of unusual gifts and a leader of equal substance — a rare combination, and the one behind her remarkable international rise,” said San Francisco Symphony Chief Executive Matthew Spivey in a news release. “What sets her apart on the podium is the conviction she brings to the music itself. Works orchestras have played a hundred times sound newly made under her hand, lit by a feeling for structure, color, and emotional architecture that audiences hear before they can name.”
Chan studied piano and cello in Hong Kong before moving to the U.S. to attend Smith College. She went to graduate school at University of Michigan, Ann Arbor, where she ultimately earned a Doctor of Musical Arts degree in 2015. The year before that she became the first woman to win the prestigious Donatella Flick LSO Conducting Competition, and was named assistant conductor of the London Symphony Orchestra.
Chan made her conducting debut with SF Symphony in January 2023 and has conducted the orchestra twice since. A rep for the the group said the feedback they’ve received from “our Orchestra, press, our audiences, and donors has been remarkable.” Chan is, indeed, a electrifying presence to behold onstage, a fact that no doubt played a major role in the search committee’s decision.
And now audiences get to delight in her fresh, invigorating approach to the conductor’s podium. Glass ceilings should be broken more often.
I’m Arts editor Jessica Gelt rooting for something new and different. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
David E. Frank and Nicolet Anton in “Limonade Tous les Jours: A Paris Love Story” at City Garage.
(Paul Rubenstein)
Limonade Tous les Jours: A Paris Love Story Romance in the City of Lights from Obie Award-winning playwright Charles L. Mee, in which a young chanteuse and a reserved American in his 50s ponder amour amid classic French cabaret songs. 8 p.m. Fridays and Saturdays; 4 p.m. Sundays, through June 28. City Garage, 2525 Michigan Ave., Building T1, Santa Monica. citygarage.org
Three Lives Written, directed by and starring Alex Xander Luu, this solo theater performance shares the dramatic, sometimes humorous, story of the Luu family’s escape from Saigon in 1975 through the perspectives of a father, son and grandson. 8 p.m. Friday-Saturday; 2 and 8 p.m. Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
David Call and Lena Dunham in the movie “Tiny Furniture.”
(Joe Anderson / IFC Films)
Tiny Furniture Multi-hyphenate Lena Dunham’s breakout 2010 indie feature about a new college graduate adrift in New York City screens with “Welcome to Bushwick a.k.a The Crackcident,” an episode from Dunham’s series “Girls.” 7:30 p.m. Friday; 6 p.m. Saturday. The Eastwood (Oxford Underground), 1089 N Oxford Ave. eastwoodpac.stagey.net
SATURDAY
Daisuke Ryu in Akira Kurosawa’s 1985 film “Ran,” screening Saturday at the Academy Museum.
(Winstar Cinema)
Darkness and Humanity: The Complete Akira Kurosawa The series continues with 35 mm screenings of “Ran,” the filmmaker’s 1985 adaptation of Shakespeare’s “King Lear” transported to 16th century Japan; and “Kagemusha,” a 1980 feudal epic executive produced by George Lucas that helped revive Kurosawa’s career and cement his legacy. “Ran,” 7:30 p.m. Saturday; “Kagemusha,” 6:30 p.m. Sunday. 6067 Wilshire Blvd. academymuseum.org
“Cut Piece,” 1964, performed in “New Works of Yoko Ono,” Carnegie Recital Hall, New York, filmed by David and Albert Maysles. Part of the exhibit “Yoko Ono: Music of the Mind” at the Broad.
Yoko Ono: Music of the Mind The first solo museum exhibition in Southern California of the singular artist, musician and activist, organized in collaboration with Tate Modern, London, includes work from her seven-decade career; direct participation by visitors will be invited in many of Ono’s transformational works. Through Oct. 11. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
Artist Kyungmi Shin, whose solo exhibition “My Fantasy’s Burdens” is currently showing at Perrotin Los Angeles, talks with Aleesa Pitchamarn Alexander on Sunday.
(Todd Gray)
Kyungmi Shin The L.A.-based artist will discuss her work, including the current exhibition “My Fantasy’s Burdens,” with Aleesa Pitchamarn Alexander, curator of Modern and Contemporary Art at the Cantor Arts Center and co-director of the Asian American Art Initiative at Stanford University. “My Fantasy’s Burden” includes both paintings and ceramics by Shin, featuring the artist’s practice of interrogating the Asian American diasporic identity, focusing on the cultural, economic and scientific consequences of colonialism. 4 p.m. Saturday; the exhibition concludes May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com
SUNDAY Bob Dylan double feature It’s the music icon’s 85th birthday and what better way to celebrate than with screenings of his 2021 concert film “Shadow Kingdom,” directed by Alma Har’el, and the 1987 musical melodrama “Hearts Of Fire” — one of Dylan’s forays into acting — directed by Richard Marquand. 7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
Stephen Schwartz performs during the Songwriters Hall of Fame induction and awards gala in 2025.
(Charles Sykes /Invision / AP)
An Evening With Stephen Schwartz Katharine McPhee, Joey McIntyre, Loren Allred and other performers join the celebrated composer-lyricist for a benefit concert to help the Altadena Music Theatre recover from the Eaton fire. Schwartz has won three Oscars, three Grammys, four Drama Desk Awards, a Golden Globe and the Richard Rodgers Award for Excellence in Musical Theater, in addition to six Tony nominations for shows including “Wicked,” “Pippin” and “Godspell.” Preceded by a VIP cocktail hour. 7:30 p.m. Manoukian Cultural Performing Arts Center, 2495 E. Mountain St., Pasadena. altadenamusictheatre.com
Arts anywhere
New and recent releases of arts-related media.
An Evening with Nicole Scherzinger
The lead singer of the Pussycat Dolls crowned her triumphant, Olivier- and Tony-winning turn as Norma Desmond in the musical revival of “Sunset Boulevard” with a series of solo concerts at prestigious venues (including Walt Disney Concert Hall). The latest edition of “Great Performances” captured Scherzinger’s performance at London’s Royal Albert Hall in October 2025, when she sang showtunes, covers and songs from her own repertoire. 9 p.m. Friday on PBS and streaming on the PBS app
“Reading Pictures: A History of Illustration,” by D.B. Dowd.
(Princeton University Press)
Reading Pictures: A History of Illustration
In this visual chronicle, D.B. Dowd, a professor of design and American culture studies at Washington University in St. Louis, follows this unique art form from relief prints and woodcuts in ancient China and Japan, through the development of the printing press in 15th century Europe, and on to modern developments such as illustrated news, recreational reading and ad-driven consumer culture. Dowd reconsiders the traditional narrative to view illustration in the context of race, gender, literacy and cultural memory. The book examines the integration of reading and looking, the increasing prevalence of images in the digital age, and what it means to be literate in the 21st century. Princeton University Press: 400 pages, $60
— Kevin Crust
Culture news and the SoCal scene
Kylie Victoria Edwards and Daniel Yearwood in “Brigadoon” at Pasadena Playhouse.
(Jeff Lorch)
Theater lovers rejoice: “Brigadoon” at the Pasadena Playhouse may be the “best local staging of a musical” Times theater critic Charles McNulty has seen in 20 years covering the scene for The Times. The revival, directed by Katie Spelman with an updated book by playwright Alexandra Silber, is “the high-water mark so far of Pasadena Playhouse producing artistic director Danny Feldman’s ongoing reexamination of the American musical canon,” McNulty writes. In the same column, McNulty notes that another classic musical revival, “Flower Drum Song” at East West Players, does not hit its mark.
The Skirball Cultural Center‘s latest exhibit takes on the genesis of Punk rock in the 1970s, and traces its rise from the UK to New York and Los Angeles. The exhibit, “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976-86,” pegs punk’s year zero to 1976, “when the Ramones debuted their self-titled record. That same year, the Sex Pistols cursed on live TV, John Holmstrom and Legs McNeil co-founded Punk magazine, and the Damned released the first British punk single, ‘New Rose’.”
Erin Davis, son of Miles Davis, poses for a portrait during Musichead Gallery’s photography exhibition marking a centennial celebration of the jazz musician.
(Jason Armond / Los Angeles Times)
As the world celebrates the centennial of jazz legend Miles Davis, a unique photo show is happening at Musichead Gallery on Sunset Boulevard. “The show celebrates the late jazz musician’s centennial through imagery captured over a career spanning nearly five decades,” writes staff writer Julius Miller, noting that some of those photos have not even been seen by members of the Davis family.
Times classical music critic Mark Swed sat down for an exclusive interview with Los Angeles Philharmonic Music and Artistic Director Gustavo Dudamel as he readied to play his final shows with the orchestra at Walt Disney Concert Hall before departing for the New York Philharmonic. “I’m living here and I’m not living here,” Dudamel told Swed. “The connection will always be here.”
Swed also weighed in on two performances marking composer Philip Glass’ 90th birthday (which arrives at the end of January): Paris Opera’s “shocking” new “noir” production of Glass’ “Satyagraha”; and a UC Santa Barbara Arts & Lectures-commissioned show called “Philip Glass and the Poets,” which premiered at Campbell Hall featuring readings by performance artist Taylor Mac and dancer/choreographer Lucinda Childs.
Lisa Waund’s work in the Joy Department at the Hospital of Emotions at St. Vincent Medical Center.
(Carlin Stiehl / For The Times)
The Times got an exclusive first look inside the soon-to-open Hospital of Emotions, which features 70 artists in a takeover of 80 rooms at the shuttered St. Vincent’s Medical Center on the outskirts of downtown L.A. The sprawling immersive art project is divided into various departments including joy, fear and sadness, and shines a spotlight on wellness and mental health.
Meow Wolf L.A. won’t open until later this year, but The Times got an early look at a new character that will be featured in the immersive art space. Its name is WoWoW and it’s the creation of the experimental video art collective Everything Is Terrible. Read all about the “20-foot-tall, 1,000-pound amoeba-like creature” here.
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Guests enjoy wine and friendship at the Barnsdall Art Park Foundation’s weekly wine tasting.
(Janna Ireland / Barnsdall Art Park Foundation)
Barnsdall Friday Wine Nights are returning for a 17th year. The event is set to begin May 29 and run through Sept. 11, every Friday evening from 5:30 to 9:00 p.m. Located on the West Lawn of Frank Lloyd Wright’s magnificent Hollyhock House, the gathering occupies one of the city’s most magical outdoor spots. A $55 general admission ticket gets you four glasses of wine from Silverlake Wine, along with a rotating lineup of food trucks. DJs also regularly perform throughout the series. Best of all: Proceeds support arts programming and preservation at Barnsdall Art Park. A rep for the event notes that, “this year’s fundraiser is especially critical amid proposed budget and staffing cuts to the City of Los Angeles Department of Cultural Affairs.”
Break out your best picnic basket and blanket: Independent Shakespeare Co. has announced this summer’s Griffith Park Free Shakespeare Festival, which runs outdoors every year at the park’s Old Zoo. This year’s lineup includes the Bard’s “Coriolanus” and “The Comedy of Errors.” Performances are free, but registration is requested at www.IndieShakes.org.
KATIE Price’s “missing” conman husband Lee Andrews may have lied to her about being detained by copying the real-life ordeal of another Brit, The Sun can reveal.
Lee told wife Katie he was bundled into a van and taken to a ‘black site’Credit: InstagramHis story is eerily similar to that of the real-life hell millionaire Albert suffered in 2019Credit: News Group Newspapers Ltd
The Dubai-based swindler, 43, also told Katie, 48, that he was being taken to a “black site” – a hidden state-run detention facility – on May 13, and they have not spoken since.
Millionaire Albert, who lived in Dubai, was arrested for financial fraud in 2019 over a bounced cheque related to his son Wolfgang’s collapsed wooden flooring business, despite having no involvement in the firm.
He was bailed but subjected to a travel ban, and then given a three-year sentence and a £2.5million fine after a court found him liable, with Wolfgang back home in the UK.
Katie has been left dumbfounded after being ghosted by her husband despite proof he’s been active on social mediaCredit: Louis Wood News Group Newspapers LtdThe couple married in January after a whirlwind romanceCredit: Instagram
After failing in an appeal, Albert tried to flee the country in 2021. His son paid smugglers £20,000 to sneak him across the United Arab Emirates-Oman border at Al Ain in Abu Dhabi.
But soldiers caught dad-of-four Albert, pointing their guns at him, hooding him, and putting him in a van.
They then took him to an unknown location and held him in a dirty cell where he was stripped and beaten for days.
Katie yesterday slammed claims made by Lee’s dad that he’s being held in a Dubai jailCredit: Click Media / SplashNews.comLee returned to social media on Friday to follow a mysterious ‘biker babe’ but failed to acknowledge Katie’s birthdayCredit: Instagram
He was finally released last December, following an intervention from the United Nations and pressure from advocacy groups including Detained In Dubai.
After his release, he told this newspaper: “It was like a nightmare with no end.”
Sources in Dubai raised eyebrows after reading the story Andrews fed Katie.
One highly-respected businessman, who has mutual friends with Andrews, told The Sun: “Lee is the type of person to read a story and then imagine it into reality.
“There are lots of similarities between their stories.
“Lee could easily have made this all up based on Albert’s story, as it’s been in the UK press recently, and just be hiding out.”
He said: “He has not been kidnapped, but he is under arrest. I don’t know on what charge.
“I’m not sure where he is being held. But he will call me later today. He is not at my house.”
But hours later, mum-of-five Katie dismissed this as “fake news” and insisted that he has not been nicked.
And Dubai’s Criminal Investigation Department could not find a record of his arrest when we made inquiries.
Katie said: “I have spoken to the Dubai police and he definitely isn’t in jail. “They still don’t know where he is. It is all really confusing and we just need to find Lee.
“I have spoken to his dad. It isn’t true. I don’t know where my husband is.” Katie wed Andrews in January, just days after meeting him through social media.
He had claimed to be a multimillionaire businessman – but some of his ex-girlfriends accused him of swindling them out of vast sums of cash. One of them, Crystal Janke, said she handed him £123,000 to invest and he promised to turn it into £1million.
Andrews was also exposed for lying about having a PhD from Cambridge University and working for The King’s Trust and the Labour Party.
He also posted AI-generated images online of himself with celebrities including American reality star Kim Kardashian and Tesla billionaire Elon Musk.
He is said to be the subject of multiple arrest warrants – including for fraud.
A British historical fantasy drama series has left viewers on the edge of their seats
A period drama has been hailed the “new Game of Thrones”(Image: Sky UK)
Fans of period dramas have been eagerly binge-watching a beloved series.
Britannia is a British historical fantasy drama created by Jez Butterworth and Tom Butterworth. The series is set in 43 AD, when the Romans invaded Britain – 90 years after Julius Caesar failed to conquer the nation.
General Aulus Plautius and his second-in-command, Lucius, are hell-bent on succeeding where Julius Caesar fell short, by whatever means necessary.
The series chronicles Rome’s conquest of the Celts across the British Isles – “a mysterious land ruled by wild warrior women and powerful druids who can channel the powerful forces of the underworld,” according to the official synopsis.
Celtic rivals Kerra and Antedia eventually join forces to repel the Roman invasion spearheaded by Aulus. But are they successful? You’ll need to tune in to find out, reports Wales Online.
Britannia originally aired on Sky Atlantic in the UK in 2018, with two further series following in 2019 and 2021. For those wishing to immerse themselves in the mystical era of the Roman Empire, all 27 episodes are now available to stream on NOW and Sky Go.
The programme boasts an impressive ensemble cast, featuring David Morrissey as Aulus Plautius, Hugo Speer as Lucius, and Yellowstone’s Kelly Reilly as Kerra. Further stars include Aaron Pierre, Zoë Wanamaker, Mackenzie Crook, Nikolaj Lie Kaas, Barry Ward, Stanley Weber, Joe Armstrong, Eleanor Worthington Cox, and Ian McDiarmid.
The production was largely shot across Wales and the Czech Republic. In Wales, the dramatic coastline and untamed landscapes were captured in rural settings, including the nation’s “most beautiful” beach Rhossili Bay, along with Henrhyd Falls and Nash Point.
Britannia garnered a broadly favourable response following its launch, with numerous critics labelling it “the new Game of Thrones”.
Viewers have similarly praised the series, with one IMDb user commenting: “What an epic series! You’ll definitely not regret watching this show. It’s perfect.”
Another wrote: “Excellent production, breathtaking locations, amazing cast. One of the best series I have watched in a while,” while a third remarked: “A magical retelling of British history. Game of Thrones fans will love this.”
A further viewer posted: “One of the best series ever! Captivating story telling with superb locations. A wild tale brought to life. Couldn’t stop watching. I’m hooked!”
A fifth enthusiast concurred, stating: “The show is brilliant, the actors are phenomenal. Crazy, funny, and steamy. Total masterpiece.”
Yet another viewer noted: “Britannia is a mesmerising historical fantasy series that masterfully blends myth, mysticism, and warfare. The series stands out for its bold storytelling, rich character development and immersive soundtrack. If you’re a fan of historical dramas with a touch of the mystical, Britannia is a must-watch.”
Britannia is available to stream on NOW and Sky Go
Tom Kane, a prolific voice actor whose signature roles included Master Yoda in a number of animated “Star Wars” shows as well as Professor Utonium on “The Powerpuff Girls,” has died. He was 64.
Kane died Monday from complications of a stroke he suffered in 2020, his representative Zachery McGinnis confirmed to The Times. The voice actor’s death was announced on social media by his talent agency, Galactic Productions.
“From his unforgettable performances in Star Wars to countless animated series, documentaries, and games, Tom brought wisdom, strength, humor, and heart to every role he touched,” reads a statement posted Monday on Galactic Productions’ Facebook page. “His voice became part of our lives, our memories, and the stories we carry with us. … Though his voice may now be silent, the characters, stories, and love he gave to the world will live on forever.”
Kane first joined the “Star Wars” franchise through video games in the 1990s, voicing droids, Imperial officers and rebel pilots in installments such as “Star Wars: Shadows of the Empire” and “Star Wars: X-Wing vs. TIE Fighter.” He would go on to voice other characters, including the iconic protocol droid C-3PO, Jedi Master Yoda and the bounty hunter Boba Fett, in various games over the years.
He continued to voice Yoda in animated “Star Wars” shows, first in “Star Wars: Clone Wars,” Genndy Tartakovsky’s series set after the events of the 2002 film “Episode II — Attack of the Clones,” in which Kane also voiced C-3PO.
But Kane’s most notable “Star Wars” role was as the narrator of the 2008 film “Star Wars: The Clone Wars” and the subsequent series of the same name, where he kicked off each adventure as the spoken version of the classic “Star Wars” opening crawl to set the stage for the story that followed.
“Tom loved ‘Star Wars,’” Dave Filoni, Lucasfilm’s president and chief creative officer, said in the studio’s tribute to Kane. “Fans may best remember him as the voice of the animated Yoda, but truly his voice was the spirit of the Clone Wars. His opening narration introduced an entire generation to the ‘Star Wars’ galaxy getting viewers ready for another adventure far, far, away.”
“When I was first starting out as a director I was fortunate to have someone as legendary as Tom there to help me learn and guide me towards what the actors needed. Very Yoda like indeed,” Filoni added.
Besides his “Star Wars” roles, Kane’s credits also include the devoted valet Woodhouse in “Archer,” the mutant Magneto in Marvel video games, the prim and proper head of house Mr. Herriman in “Foster’s Home for Imaginary Friends” and the flamboyant villain Him in “The Powerpuff Girls.”
Kane said in a 2014 Reddit AMA that “The Powerpuff Girls’” Professor Utonium, who combined sugar, spice and everything nice — along with chemical X — to create the super-powered kindergartners, was the character he most identified with.
“He’s a dorky dad who loves his kids,” Kane wrote in a comment. “That’s pretty much me.”
Tara Strong, who voiced Powerpuff Girl Blossom, described Kane as “Brilliant. Giving. Funny. Supportive. [And] Kind.” in her tribute.
“They say there’s no such thing as a perfect man… those people never met [Tom Kane]. I’ve never in my life met a sweeter soul or a better human being,” Strong wrote in a Monday post on X. “I’m beyond grateful for all the hours we spent together in the booth, and so grateful we got to see him again recently… hug him tight and tell him how much we love and miss him.”
“I love you, Professor. You were the best dad, the best human, and I feel so honored to have known you and called you my friend,” she added.
Born April 15, 1962, in Overland Park, Kan., Kane began his voice acting career at age 15 doing commercials in his hometown of Kansas City, according to IMDb. In addition to his work in games, film and television, Kane has lent his voice to announce awards shows, including the 78th, 80th, 83rd, 84th and 90th Academy Awards broadcasts, as well as on attractions at Disney Theme parks.
“I’m also glad that his characters and voice will live on in many ways,” Filoni said in his tribute. “Wherever you go there’s always a chance that Tom is the voice you hear guiding you through Disneyland or a galaxy far, far away.”
Kane is survived by his wife, Cindy, and their nine children, six of whom joined the family through adoption and fostering.
The BBC star finds it ‘heart-breaking’ that her great x3 grandfather had such a difficult start in life – and was later declared ‘destitute’.
Zoe Ball was stunned by the ‘devastating’ discoveries she made during Who Do You Are?(Image: CREDIT LINE:BBC / Wall to Wall Media Ltd / Stephen Perry)
Zoe Ball was famously the top-earning presenter at the BBC, earning a high of £1.4million a year as host of the Radio 2 Breakfast show back in 2021. But in the new series of Who Do You Think You Are?, the radio star discovers that her great x3 grandfather James Temby, a Cornish miner, was deported from Guernsey as a young father for being “destitute”.
He and other members of the family, who had travelled there to start a new life with the promise of work in the granite quarries, were ordered out after two years. And this came after he’d already had a particularly tough start in life – spending six weeks in Bodmin jail as an illegitimate two-year-old after his single mother Julia was locked up for six weeks in 1851 for an “assault” an another woman.
On hearing how the pair of them would have spent time in the pitch black at the Cornish reform prison, which restricted access to light in order to encourage better behaviour from inmates, Zoe is horrified. “It’s heart-breaking isn’t it?” she says.
Standing in the tiny, draughty cell – which could have been the very one where her ancestors were incarcerated – she also learns that the prison was silent, and so all speaking was banned, and that the inmates also had their heads shaved to prevent lice.
Zoe gasps: “That’s tough living isn’t it? It’s pretty devastating to think of a two-year old living in these conditions. Must have been terrifying for both of them.”
Jess Marlton, general manager of The Bodmin Jail which is now a hotel and museum, agrees: “Trying to keep a two-year-old quiet I should think was quite a challenge.” But she explained: “There was nowhere else for him to go and no other means to support him.”
Zoe stays the night in one of the converted cells and admits she had to “sleep with the light on”. Afterwards there is happier news when she discovers that James went on to marry her great x3 grandmother Mary Ann at the age of 19 and, despite the setback in Guernsey, he and his family fared better once they returned to England. They were initially sent to Plymouth in 1869 but by 1875 had moved 400 miles north to County Durham, which is where Zoe’s late mother Julia grew up.
James successfully secured work in the coal mines and they also ran a greengrocers shop. By the time he died 40 years later, at the age of 73, he was said to be held in the “highest esteem” by the local community. Shown a picture of the shop, based in Hunwick, Zoe says of Mary Ann: “There she is, she’s got her pinny on ready to work. It’s so wonderful to see their faces.” The couple had five children who all went on to marry.
Zoe – who’d speculated at the start of the film that she was descended from “a long line of wrong ’uns” – is thrilled to see that James was “respected in the end”. She admires the “strength and resilience” he showed in moving around to find work and support his family and feels she was actually “quite wrong” about the family history journey she’d expected to go on.
Zoe, 55, also tells the programme that she was brought up by her dad, former TV presenter Johnny Ball, from the age of two when her parents divorced, and didn’t have any contact with Julia for 14 years – which was “pretty tough”. Having fully reconciled with her mother in her later teenage years, she says that Julia’s death, in 2024, made her take a long hard look at her own life. “It really made me step back and reevaluate what’s important,” she explained. Speaking of her 15-year-old daughter, Nelly, she said “I really just want to be mum and be around for her, before she’s grown up and off into the big wide world like her brother.”
In the programme the former Radio 2 breakfast star also learns that her impoverished maternal grandmother was a serial fantasist who had “delusions of grandeur”and was sent to a mental hospital.
Margaret ‘Peggy’ Minto was committed for acute mania after being put on trial for shoplifting. Poor Peggy’s fantasies continued even while she was undergoing treatment, which included electroconvulsive therapy – an electric current passed through the brain.
Zoe’s only regret is that Julia did not live long enough to find out the fascinating details of their shared ancestry. “It’s been hard to do this without Mum,” she sighed. “I want to ring her up – I know she’d be really chuffed.”
– Zoe Ball’s episode of Who Do You Think You Are? airs on BBC1, May 26 at 9pm.
“Things can always evolve and change, and I think that’s awesome, and things should evolve and change, but I hope the core of what ’60 Minutes’ is always remains,” Anderson said on-air. “I think the independence of ’60 Minutes’ has been critical.”
Throughout the farewell segment, the 58-year-old journalist, who was hired in 2007, reminisced about some career highlights, like speaking with Holocaust survivors and people battling malnutrition in Niger, as well as interviewing A-listers like Lady Gaga and Prince Harry. He also said he hopes the show continues to be a reliable source of investigative journalism.
“I think the trust it has with viewers is critical to the success of ’60 Minutes.’ When you see a ’60 Minutes’ story, and you’re like, ‘That was a really good story.’ It was a good story because it requires time, it requires patience, it requires money,” he said. “I hope that’s known and honored and valued and continues.”
Two months after taking on the new role, Weiss made the widely panned decision to pull a “60 Minutes” episode that examined the alleged abuse of deportees sent from the U.S. to an El Salvador prison. The decision earned Weiss heavy criticism and accusations that the move was politically motivated, which CBS has denied.
Cooper said that he’s leaving the program to spend more time with his young children. He will remain as an anchor for CNN.
He added, “I hope ’60 Minutes’ is around for when my kids grow up and have kids of their own, and they can watch it with their kids.”
When Andrea Werhun started writing her memoir, “Modern Whore,” nearly a decade ago, she was afraid to be honest about working as an escort and stripper. But she embraced going public to “use storytelling to advocate for the plight of sex workers.”
In the documentary version of “Modern Whore,” directed by Nicole Bazuin, Werhun has gone not one, but several steps further. Werhun, 36, is not only the main interview subject, she’s also the frequently topless star of all the vividly depicted reenactments of her experiences. The documentary also features bright colors, funky music and an often jaunty tone.
Well Documented
With networks and streamers seeking to create compelling content, many have found the answer in true stories. But with the surge in documentaries, it can be hard to sift through what’s worth your time. Each month, we provide an inside look at a documentary and others you should add to your queue.
Werhun, who started escorting in college and still does sex work even while pursuing writing and acting, was a consultant on Sean Baker’s “Anora,” and he served as a producer here, offering feedback on their script and numerous cuts of the film. It premiered at the Toronto International Film Festival in 2025 and is now available on video on demand.
Werhun and Bazuin recently discussed the film’s style and goals in a joint video interview edited for length and clarity.
How much were you consciously trying to make this different from other documentaries about sex workers?
Bazuin: I wanted this to feel like a storybook come to life — we literally jump inside Andrea’s book with Andrea as our storyteller and reenactor of her own experiences. People might expect a film about sex work to be be drab or dour, and we wanted to confront that right away with vivid colors and a stylized expressionistic mode that can support all the moods of her experiences. Stylized films sometimes can contain more truth than realistic forms.
Werhun: Cinema verité, which is typically how sex workers are portrayed in documentaries, inevitably comes off as voyeuristic.
Most documentaries about sex work don’t include R-rated reenactments starring the film’s subject. Why include that?
Bazuin: We wanted to disrupt expectations audiences might have and to make it a more human portrait.
Werhun: I love performing and I’d love to have an acting career and this was an excellent showcase of my abilities.
But also it would feel censored if there weren’t any tits, if there were no sex scenes in a film about sex. I’m not ashamed of the fact that I’ve used this body to make a living. Nicole and I crafted the scenes meticulously to convey a point that is artistic, funny and educational.
Bazuin: The movie runs the gamut tonally. It’s a “Trojan whore” for a feminist and sex worker manifesto for political and social change, so we also show the challenges and the assaults that Andrea experienced because we want laws that would make this work safer, including the decriminalization of sex work.
Andrea, why interview your boyfriend and mom on camera?
Werhun: The sex worker stereotype is that we’re isolated and vulnerable, with no support systems; that stereotype makes predators think we’re easy victims. I wanted to dispel the idea that we are incapable of having loving, meaningful relationships.
This is presented as a film memoir yet you then include other sex workers’ perspectives.
Werhun: Unfortunately, when it comes to sex work storytelling, there is a proliferation of cis white, educated women and those tend to be the stories that get platforms. But that experience is minute compared to the wide range of sex workers, so it was vital to expand the narrative to include other perspectives, whether it’s race, gender orientation or class. What we have in common is that we all deserve to be treated with respect and dignity.
You say you’re rewriting the usual story of sex workers as victims or villains but you were a victim, both of exploitative working conditions and sexual assault. Will sex workers always be victimized without legal protection?
Werhun: Most of our clients are not bad people, they’re paying for a service we’re willing to provide. But under any criminalized model, there is inherently exploitation and people don’t feel safe accessing justice. If we don’t have labor rights, we’re going to be victimized. Even strippers are not comfortable going to the police.
We’re fighting a society that wants to keep our work in the dark, to pretend that this isn’t happening, that it can be abolished by throwing people into prison. Criminalization is harmful and guarantees there are more victims.
Where does OnlyFans fit into the sex work equation?
Werhun: The beauty of escorting and stripping is that you can dip in and out. With OnlyFans you’re working 24/7, creating content, interacting with your fans and doing constant self-promotion. With sex work in person, no one has to know about it but OnlyFans will follow you for the rest of your life. I did it for a year and a half and it paid my rent but it’s not my preferred type of sex work. It’s great for people who live online.
How did audiences respond to the film at festivals?
Werhun: Obviously, creating this film was a trust fall. The film is a song and dance on behalf of all whores, trusting humanity to hold me and not hurt me. I was pleasantly surprised by how audiences warmly embraced it. Some people were working through their prejudices in real time and it’s amazing to watch them transform. We hope the film can inspire social change. If it pulls your heartstrings, then when issues of criminalization and legal change arise, people might say, “I remember that movie and I think whores deserve to have equal rights with everybody else.”
CANNES, France — The movies of Na Hong-jin aren’t hard to love — they’re as obsession-worthy as the stylish rigor with which they are made. His 2008 debut, “The Chaser,” found new febrility in the post-Fincher serial killer thriller. “The Wailing” somehow added ghosts, demon-possessed children and inky black crows to the mix with a near-crazed sense of showmanship.
That was 10 years ago. Na, 51, now sits on the other side of a project that has consumed him for years, a sci-fi action film called “Hope” that arrives with expensive CGI, a pair of A-list stars (Michael Fassbender and Oscar-winner Alicia Vikander) and James Cameron-sized franchise ambitions. It will undoubtedly make Na’s gallows-humor-inflected brand more global, even if it lifts him out of the cult niche that’s nourished him to date.
Cannes is an unlikely place to launch “Hope.” That could be seen as a sign that the festival’s increasing accommodation of blockbuster bigness doesn’t need Hollywood. Na sits in the corner of a Côte d’Azur waterfront lounge on a glorious midday, the sky an almost abstract blue. He tugs at his goatee distractedly. His world premiere is tonight.
Neon, the distributor currently enjoying a six-year Palme d’Or winning streak, will release “Hope” in America sometime after its summer bow in Na’s native South Korea. The following conversation has been edited for length and clarity. It also contains significant spoilers.
A scene from the movie “Hope,” directed by Na Hong-jin.
(Neon)
When did you realize that you had a big sci-fi alien monster movie in you?
The idea came to me in 2017 in Seoul. The premise started off with somebody watching news in a diner or a small restaurant. It was that image that I had in my head. So I started developing that initial image in more detail. By 2018, I was able to write my first draft.
“Hope” brings to mind several genre classics, from “Jaws” and John Carpenter movies like “The Thing,” to something more homegrown such as Bong Joon Ho’s “The Host.” Were those inspiring to you?
I must have looked all the genre films that I could find, including the ones you mention, before I went into filming. And, as I hope you noticed, I was looking more at films from before 2000 and I tried to reflect that look.
It seems like you’re using Cannes as a moment to pivot or reinvent yourself. Is that intentional?
I didn’t intend for this to be a turning point in terms of style or direction going forward. I never thought of it that way. What I really dwelled on was thinking about how to tell this story in a way that was approachable and entertaining for people.
Why did you set the story in the demilitarized zone?
If you look at it from a universal perspective, what happens in this very shabby, humble, small, insignificant space potentially creates an impact that can go on infinitely. I think none of the characters in the film do anything with any malice. I guess the underlying story I want to tell is that there is no reason for evil intention behind anything, but innocent acts can build up to something tragic.
Michael Fassbender and Alicia Vikander are wonderful surprises in the movie as some rather dignified aliens. What led you to them?
When I was casting the alien roles, I had a bigger story in mind. I don’t know whether there’ll be a sequel after this one, but if so, that sequel is going to be centered around them. So picking the right actors was very important for me. We asked them to learn this invented alien language, which they prepared and came onto set knowing.
How important to you is comedy and releasing tension with laughs?
Very. I try to really think it through and if it comes out the way I intended, that gives me such a thrill. I tried to incorporate it in many places.
A lot of the movie feels like a virtuoso chase sequence, people barreling down the road, guns blazing. But it took me a minute to realize that the more interesting question is: Who’s doing the chasing? Is “Hope” meant to make us examine our own violence?
Yes, very much so. And two of the major chase scenes were designed so that what starts off as righteous somehow tilts toward being unjust. I wanted the action to bring up that transition in perspective.
You’ve premiered at Cannes before but, in a way, it feels like the wrong festival for a movie like this. You’re laughing because I think you agree with me.
It goes without saying. I’m incredibly nervous. And I feel so grateful that you’re treating me so nicely and gently.
A scene from the movie “Hope,” directed by Na Hong-jin.
(Neon)
Why did it take you 10 years to make this film?
There was a pandemic in the middle of that. But except for the pandemic where everything stopped, I was working my ass off before and after. It still took this long. I’m a little concerned myself, like: How did this happen?
With “Hope,” are you saying goodbye to the filmmaker you once were?
Not at all. Throughout the entire process of making this film, I was bloodthirsty. I was thirsting for blood. I have another script written already.
And maybe now it’ll go faster because there won’t be a pandemic. Are you hoping that this movie is going to have an impact on the Korean film industry?
It’s not my place to say that. I’m not sure. I want things to be freer.
Would it be a mistake to read this film as an allegory for what’s happening now in the world? Is it a plea for understanding?
I don’t regard it as a plea for understanding. Rather, let’s hope people will be able to relate to it and be empathetic about the story and realize for themselves, understand for themselves. Maybe there’s something more to it, but you take away what you will from that.
Your dark humor flares on occasion. Did you make it a point to try to preserve that?
Well, you can’t just do something like this without having that. It’s not fun.
This doesn’t feel like an “Avatar”-style film. There’s an openness to it, a sense of exploration. Do you believe in heroes?
I do believe in heroes, but, as I tell in the story, anyone can be a hero.
Professional visual artists hate generative AI. This should come as no surprise, but a new survey released last month by a trio of researchers at Carnegie Mellon University breaks down just how much: 99% of respondents out of a pool of 378 verified professional visual artists noted their dislike for the technology, with 92% categorizing it as “strong dislike.”
Even more jarring, the survey found that 80% of respondents believe that they’re in competition with the technology. The artists expressed deep concerns about the impact AI is having on their careers, with 54% saying it has diminished their income, 75% their job and clientele security, and 90% their income opportunities. Another 77% said it had negatively impacted their career growth, 61% the future of their career, and 74% their career sustainability.
The jobs most heavily affected include commercial artists, graphic designers and concept artists in entertainment whose work is sometimes entirely replaced — or largely commandeered — by images generated using tools like Midjourney, Adobe Fireplay or DALL-E; but fine artists working in traditional media are also experiencing a devaluation of their work and a shrinking pool of employers.
“I’m working on getting out of the field and planning to get my PhD in something non-art related because I can’t see my current work as being sustainable when I see them actively replacing me [with] chatGPT,” a costume designer and illustrator said in the survey, which notes, “Demoralization, disempowerment, disrespect, stress, and fear are also commonly expressed, not only regarding individual careers but also extending towards the field at large.”
“It’s been pretty demoralizing at times seeing a lot of younger artists giving up because they don’t see a future in art. That they’re abandoning their creative passions because of AI,” another illustrator said. A comic artist, writer and painter noted that AI underscores that art is not important to the general public. “It has been demoralizing largely because generated AI images look like crap but there is a segment of the population who seem to not care,” the artist said.
Then there is the unnervingly meta task of artists trying to prove they are human, or that they did not generate their work using AI.
“I find users online to be more critical, looking at art less to enjoy it and more so to figure out if it’s AI generated or not. There’s a lot of pressure and anxiety in proving you are a real person now,” one illustrator and designer said. Another artist and sculptor said, “I have seen false accusations for use of AI in work from other artists who do not use AI and I am fearful of being accused of this as well, I now record the creation process of most things so that I have proof AI was not utilized.”
In that column, Merchant discusses the “good enough” principle of AI-generated art, noting, “Creative workers aren’t typically worried that AI systems are so good they’ll be rendered obsolete as artists, or that AI-generated work will be better than theirs. Their fear is that clients, managers, and even consumers will deem AI art ‘good enough’ as the companies that produce it push down their wages and corrode their ability to earn a living.”
An idea highlighted in the following letter published by Merchant from an anonymous source:
“I’ve been out of work for a while now. I made children’s book illustrations, stock art, and took various art commissions.
Now I have several maxed out credit cards and use a donation bin for food. I haven’t had a steady contract in over a year. two weeks ago, when a client who has switched to AI found out about this he gave me $50 out of ‘a sense of guilt.’ Basically pity for the fact that Illustrator, as a job, does not exist anymore.”
One thing Merchant is exceedingly good at is reminding readers that there is a surge of dissent swelling from the proletariat — and that after you’re done feeling the necessary despair, you can join the anti-AI resistance. For visual artists that can be as simple as utilizing a growing number of defensive tools when it comes to protecting art, most notably Glaze and Nightshade. The former adds the smallest pixel-sized changes to your artwork, which serves to confuse AI so it can’t train on your style; the latter — as the name implies — acts more like a poison that corrupts AI training data so it can’t scrape from a protected image.
I’m Arts editor — and proud Luddite — Jessica Gelt. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Celeste Butler-Clayton as Coretta Scott King in “Experiencing the Dream: The MLK Musical.”
(Triple T Photography)
Experiencing the Dream: MLK the Musical The show’s 26 songs will be recorded live with an orchestra of 27 musicians under the direction of Leon Lacy, with orchestrations by Felipe Paccagnella, vocal arrangements by Tony Jones and musical direction by arranger/producer William Taylor. The cast includes Eric Dawkins, Bishop Jonathan Mason, Yolanda Gibbons, Patricia Jackson, James Singleton, Melvin Crispell, Pam Blackmon Kendle and Celeste Butler-Clayton. Written by Kesha L. Ealy and Marcus S. Mason. Mason also composed the music. 7 p.m. Greater Emmanuel Temple, 3740 E. Imperial Hwy., Lynwood. MLKthemusical.com
Riverdance 30 — The New Generation The Irish music and dance phenomenon marks its three decades with a special anniversary tour. 7:30 p.m. Friday; 2 and 7:30 p.m. Saturday; 1 and 6:30 p.m. Sunday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
SATURDAY
Ryuichi Sakamoto, left; Bang on a Can All-Stars.
(The Wallis)
Ryuichi Sakamoto Contemporary music sextet Bang on a Can All-Stars pay tribute to the Japanese composer with works from his album “1996,” which included pieces from his film scores, including “Merry Christmas, Mr. Lawrence” (1983), “The Last Emperor” (1987), for which he won an Academy Award, “The Sheltering Sky” (1990) and “Little Buddha” (1993). 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Vijay Iyer and Wadada Leo Smith The longtime collaborators perform music from their 2025 album “Defiant Life” which Iyer noted “was shaped by our ongoing sorrow and outrage over the past year’s cruelties, but also by our faith in human possibility.” 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Radiance + Reverie Los Angeles Chamber Orchestra music director Jaime Martín leads the group in Mozart’s “Haffner” Symphony, “Selah,” a world premiere of a new Double Concerto by Christopher Cerrone performed by violinist Anthony Marwood and cellist Coleman Itzkoff, and Tchaikovsky’s “Mozartiana.” 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
Mads Mikkelsen and Zlatko Burić in ‘Pusher II: With Blood on My Hands.”
(Jens Juncker-Jensen / NWR / Magnolia Pictures )
Pusher trilogy Danish filmmaker Nicolas Winding Refn’s gritty triptych takes us through the violent criminal underworld of Copenhagen in three interconnected films, each with a different protagonist: “Pusher” (1996), starring Kim Bodnia; “Pusher II: With Blood On My Hands” (2004), starring Mads Mikkelsen; “Pusher III: I’m The Angel Of Death,” starring Zlatko Burić. 5 p.m. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Jodi Siegel The singer-songwriter and guitarist is joined by guitarist Greg Porée and percussionist Justin Porée for an evening of blues, R&B, soul and jazz. 8 p.m. Sierra Madre Playhouse, Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
SUNDAY Celebrating Photography The Getty has a series of events inspired by the exhibition “Photography and the Black Arts Movement, 1955–1985” (which continues through June 14). It begins Sunday with a free, daylong Family Festival featuring live music, dance, storytelling and interactive workshops. On Wednesday evening, moderator Karen Grigsby Bates and authors Dr. Karin L. Stanford and Mark Speltz discuss the new book “Marching West: The Los Angeles Civil Rights Movement in Photographs.” Thursday morning, the panel “Backstage: An Unfurling of the JPC: Black Photography & Visual Culture” examines how the Johnson Publishing Company and its photographers impacted Black visual culture and the larger field of photography. Finally, on June 7, authors Jeanne Moutoussamy-Ashe (“Viewfinders: Black Women Photographers”) and Deborah Willis (“Black Photographers, 1840 to 1940: An Illustrated Bio-Bibliography”) discuss their work as artists and historians. Family Festival, 10 a.m.-5 p.m. Sunday; “Backstage: An Unfurling of the JPC,” 10 a.m. Thursday (also online); “Marching West,” 7 p.m. Wednesday (also online); “Viewfinders,” 4 p.m. June 7 (also online). Getty Center, 1200 Getty Center Drive, L.A. getty.edu
F For Fake A 35 mm screening of Orson Welles’ 1973 enigmatic docudrama profiles professional art forger Elmyr de Hory as a starting point for examining authenticity and authorship. 6 p.m. Brain-Dead Studios, 611 N. Fairfax Ave. studios.wearebraindead.com
Philip Glass and the Poets The first major Philip Glass 90th birthday celebration (he was born Jan. 31, 1927) features Timo Andres on piano and spoken word performance by Taylor Mac, with special guest appearances by Lucinda Childs and the San Francisco Girls Chorus and their artistic director Valérie Sainte-Agathe. 7 p.m. UC Santa Barbara, Campbell Hall. artsandlectures.ucsb.edu
TUESDAY
Gustavo Dudamel will lead the L.A. Phil in Wagner’s “Die Walküre” in three parts, Tuessday-Sunday at Disney Concert Hall.
(Etienne Laurent / For The Times)
Die Walküre Conductor Gustavo Dudamel and the L.A. Phil, along with director Alberto Arvelo, tackle the second installment in Wagner’s epic Ring Cycle in three stand-alone parts with opera stars Jamez McCorkle, Jessica Faselt, Christine Goerke and Ryan Speedo Green, and scenic designs by Frank Gehry. Act I, 8 p.m. Tuesday and Friday; Act II, 8 p.m. Wednesday and Saturday; Act II, 8 p.m. Thursday and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
WEDNESDAY Being There Peter Sellers received an Oscar nomination for his portrayal of a simple gardener catapulted into the media spotlight and presidential politics in Hal Ashby’s prescient 1979 satire. Shirley MacLaine, Jack Warden and Melvyn Douglas co-star. Screening in 35 mm with an appearance by cinematographer Caleb Deschanel. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Life of Mozart The Pasadena Choral Society presents the composer’s unfinished “Requiem” within a dramatic framework using Mozart’s own words. Milo Brody plays Mozart, accompanied by pianist Tali Tadmor, with solos by soprano Erika Boychenko, alto Ali Frazzini, tenor Eric Wernerand bass Chris Tickner. 7:30 p.m. San Marino Community Church, 1750 Virginia Rd #0412. givebutter.com/lifeofmozart
Primary Trust Times theater critic Charles McNulty described Eboni Booth’s 2024 Pulitzer Prize-winning play as “a quirky, small-scale, quietly reflective work that’s as tenderhearted as it is spryly comic and as poignant as it is ultimately uplifting,” when it had its West Coast premiere at La Jolla Playhouse. Once again directed by Knud Adams, it arrives in Los Angeles with a cast that includes Ugo Chukwu, Rebecca S’manga Frank, Petey McGee and James Urbaniak, with music by Luke Wygodny. Through June 28 Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
Studio installation view from “A Palace in Time” at the Skirball beginning May 20.
(Courtesy of Robert Russell and Lisa Edelstein.)
Skirball Spring Exhibitions The Skirball Cultural Center launches three new exhibitions next week: “Inventing America: The Comic Book Revolution”; “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976–1986”; and “Robert Russell and Lisa Edelstein: A Palace in Time.” All three open May 20, Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. skirball.org
THURSDAY
Ain’t Misbehavin’ Grammy Award-winning artist Ledisi headlines this Ebony Repertory Theatre production, in association with Fig Street Films, of the Tony Award-winning revue, a tribute to the music of Fats Waller. Directed by Wren T. Brown, with choreography by Dominique Kelley and music direction by William Foster McDaniel. Chester Gregory, Connie Jackson, Marty Austin Lamar and Natalie Wachen co-star. May 21 through June 8. Nate Holden Performing Arts Center, 4718 W. Washington Blvd. L.A. ebony rep.org.
Arts anywhere
New and recent releases of arts-related media.
Shaina Taub, Jenna Bainbridge and the cast of “Suffs” during the 77th Annual Tony Awards in 2024.
(Theo Wargo / Getty Images for Tony Awards Productions)
Suffs When the national tour of Shaina Taub’s musical about the suffragette movement marched through the Hollywood Pantages last fall, Times theater critic Charles McNulty wrote that it “is as informative as it is uplifting. It is above all a moving testament to the power of sisterhood. The struggle for equality continues to face crushing setbacks today, but Taub wants us to remember what can happen when people stand united for a just cause.” Captured on Broadway in December 2024, “Suffs,” starring Taub, who also wrote the book, music and lyrics for the show, debuted on PBS’ “Great Performances” earlier this month and is streaming online until the end of July. pbs.org
— Kevin Crust
Culture news and the SoCal scene
Johnie’s Coffee Shop in Los Angeles May 8.
(Ariana Drehsler / For The Times)
Artist Gary Baseman staged his first hometown show in more than a decade at the long-shuttered, but still iconic Johnie’s Coffee Shop along Miracle Mile on Wilshire Blvd. The Googie-style structure opened its doors for the exhibit, which featured a variety of Baseman’s drawings on menus from L.A.-area restaurants.
McNulty also weighed in with a review of a revival of Eugène Ionesco’s “Exit the King,” directed by Michael Michetti at A Noise Within. Ionesco, a Romanian-born French playwright, is one of the pillars of the Theatre of the Absurd, McNulty writes, adding, “The existential philosophy of Camus and Sartre, self-evident truths for these absurdist writers, is conveyed less through the content than through the style of their plays. Language is no longer a means of communication but a mark of the unbridgeable distance between human beings.”
People play a satirical video game installation titled “Operation Epic Furious Strait to Hell,” created by guerrilla art group Secret Handshake.
(Heather Diehl / Getty Images)
You can order a Diet Coke, or bomb Iran in a new video game about the Iran war called “Operation Epic Furious: Strait to Hell,” which was installed near the National Mall in Washington, D.C. by the anonymous arts activist group Secret Handshake. For the past year and a half the group has secured permits to erect an ongoing series of satirical public sculptures — mostly about President Trump’s alleged ties to convicted sex trafficker Jeffrey Epstein — on and around the National Mall. This is the group’s first foray into video games.
Times classical music critic Mark Swed devoted a recent column to the genius of the American theater director, playwright and performer Robert Wilson, who died last year at the age of 83. “So far this year, there have been, or will be through the end of June, major Wilson opera and theater productions in Moscow; Paris; Ljubljana, Slovenia; Düsseldorf, Germany; Adelaide, Australia; Kaunas, Lithuania; Vienna; Rome; Tokyo; Luxembourg City, Luxembourg; Berlin; Riga, Latvia; and Sophia, Bulgaria. That is to say, pretty much Wilson business as usual,” Swed writes, before examining two new performances of Wilson’s work in Brooklyn and Houston.
Artist Todd Gray stands in front of his work inside the Wilshire/La Cienega Metro Station on May 1 in Los Angeles.
(Carlin Stiehl / For The Times)
Iris Kwok marked the opening of L.A. Metro’s new D Line extension by profiling four of the artists behind the public artwork in three new stations. Nine artists in total worked on site-specific installations: Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
Culver City’s Wende Museum of the Cold War announced it will build a $16-million expansion in Hawthorne. It plans to transform a newly purchased Midcentury Modern building into a research institute and interactive storage facility for its collections — “a ‘living archive,’ as it’s calling the facility,” writes Deborah Vankin. The opening is currently set for 2028.
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Alvin Ailey’s American Dance Theatre’s Chalvar Montei leaps for the stars. The troupe will perform as part of the Glorya Kaufman Presents Dance at the Music Center.
(Dario Calmese / Courtesy La Jolla Music Society )
The Music Center announced its lineup this week for the 2026–27 season of Glorya Kaufman Presents Dance at the Music Center. Highlights include the Joffrey Ballet’s West Coast premiere of “The Sleeping Beauty,” Compañía Nacional de Danza’s North American premiere of “Don Quixote,” and the Los Angeles premiere of a Jerome Robbins ballet festival curated by Tiler Peck. Alvin Ailey Dance Theater is also part of the lineup, and choreographer Sonya Tayeh will unveil an L.A. premiere set to the music of Sinéad O’Connor.
The Los Angeles Philharmonic has announced the 2026 summer season at the Ford. The open-air venue across from the Hollywood Bowl is now in its seventh season under LA Phil leadership, and shows are set to run through Oct. 31. Grab your picnic basket and select a date from a wide variety of shows including dance, music and film. Stand-out acts include Bilal and DJ Rashida, Matteo Bocelli, Jacob Collier, Judy Collins and Bruce Cockburn, Ani DiFranco and Valerie June, Helado Negro and Reyna Tropical, Joe Hisaishi, Iron & Wine, the L.A. Phil, and Punch Brothers.
The Institute of Latino Art has opened in Pomona, with a grand opening reception scheduled for June 13. Occupying the former Latino Art Museum space, the new gallery was founded by artist Oscar Magallanes. A news release notes, “ILA represents a new artist-led institution in the Inland Empire, working to connect regional communities with contemporary Latin American and Chicano art. The inaugural exhibition, ‘Reclamation: Art in Contested Spaces,’ features NSRGNTS, Lapiztola, and Rubén Ortiz-Torres.”
It seemed inevitable that the Chargers’ social media team would poke fun at the NFL’s biggest offseason story, and they did just that Thursday in their 2026 schedule release video.
In the Halo-themed video, the Chargers made a couple references to the ongoing drama when revealing their Thanksgiving weekend game against the New England Patriots. A sign with the words “Next Photo Dump 1 Mile” was in the video as was a pop-up notification from the New York Post, which broke the story about the Patriots coach and the former Athletic reporter. You can watch the video here:
should we REALLY make our schedule release video in halo?
This isn’t surprising. The Chargers’ last game was a playoff loss to Vrabel’s Patriots, so nothing short of an edict from the NFL probably would have stopped the franchise’s social media team from referencing the Vrabel-Russini controversy.
And when “Inside the NBA” put Vrabel and Russini in a “Gone Fishing” mock photo earlier this month, it probably sent some NFL social media teams into a frenzy. If ESPN, which is 10% owned by the NFL, can get away with that, why couldn’t they?
It’s good the NFL isn’t as buttoned up as it used to be regarding its public image, although it’s probably wishing this story would go away.
The video is horrifying, though it is the kind of horror now synonymous with the behavior of Israel, its military, its armed settlers, and society that has been conditioned to see the ‘other’ as subhuman.
Yet, this was not the typical viral video that emerges almost daily from occupied Palestine. The victim, this time, was not a Palestinian. She was an elderly French nun.
On May 1, footage surfaced from Jerusalem showing a 36-year-old Israeli man running behind a French nun—a researcher at the French School of Biblical and Archaeological Research—and shoving her violently to the ground.
In a chilling display of cruelty, the assailant did not simply hit and run. He walked away a few paces, then returned to the fallen woman to kick her repeatedly and mercilessly as she lay helpless.
What was most astonishing was the sense of normalcy that followed. The assailant remained on the scene, conversing with another man who appeared entirely unperturbed by what should have been a devastating event in any other context.
The video briefly imposed itself on the mainstream media scene, garnering perfunctory condemnations. Many explained the event as part of the larger landscape of Israeli violence, highlighting the ongoing genocide in Gaza as the most obvious example of this unchecked aggression.
But even the context of general violence does not fully explain why a French nun was targeted. She is not dark-skinned, she is European, she is Christian, and she holds no historical or territorial claims that would typically trigger the ‘security’ paranoia of the Zionist state.
Still, the incident was anything but ‘isolated,’ despite the rush by Israeli officials to label it a ‘shameful’ exception. To the contrary, the nun was attacked specifically because she is Christian.
This raises the question: why?
To answer this, we must acknowledge how Palestinian Christians have been systematically written out of the history of their own land.
Palestinian Christians are not merely present in the land; they are among the most historically rooted communities in Palestine. They are anything but ‘foreigners’ or ‘bystanders’ caught in a supposed religious conflict between Jews and Muslims.
In fact, the Christian Arab presence in Palestine predates the Islamic era by centuries. They are the descendants of historic tribes who shaped the region’s identity long before the advent of modern political labels.
The marginalization of Palestinian Christians is a relatively new phenomenon, deeply linked to Western colonialism. For centuries, European powers used the pretense of ‘protecting’ Christian communities to justify their own imperial interventions.
Consequently, this framed the native Christian not as a sovereign Arab with agency, but as a ward of the West—a narrative that effectively stripped them of their indigenous status and alienated them from their own national fabric in the eyes of the world.
Zionism added a lethal layer to this erasure. It has often projected itself as a ‘protector’ of Christians to avoid raising the ire of its Western backers.
In reality, Palestinian Christians have been subjected to the same policies of ethnic cleansing, racism, and military occupation as their Muslim brothers and sisters. How else can we explain the catastrophic dwindling of the Christian population?
Before the 1948 Nakba, Palestinian Christians made up roughly 12% of the population. Today, that number has plummeted to a mere 1%. During the Nakba alone, tens of thousands were expelled from their homes in West Jerusalem, Haifa, and Jaffa, their properties looted and their communities dismantled.
A quick look at the map of Jerusalem and Bethlehem today tells the story of an ongoing erasure. Jerusalem is being systematically emptied of its native population, both Christian and Muslim. Christian properties and houses of worship are restricted, and the ‘Little Town’ of Bethlehem has been swallowed by a ring of illegal settlements and an 8-meter-high Apartheid Wall that has transformed the birthplace of Christ into an open-air prison.
Yet, despite this, we rarely hear about the struggle for survival of Palestinian Christians. Instead, the world occasionally glimpses ‘incidents’—like the common habit of Jewish extremists spitting on foreign pilgrims and clergy in Jerusalem. This behavior has become so normalized that Israeli ministers, such as Itamar Ben-Gvir, have previously defended the act as an “ancient custom” that should not be criminalized.
The reason the Palestinian Christian story is rarely told is that it fails to factor neatly into the convenient narratives used by Western governments. They are keen on presenting the ‘conflict’ as a Jewish state fighting for its identity against a monolithic ‘Islamic’ threat. Israel is heavily invested in this same ‘Clash of Civilizations’ trope, positioning itself as the vanguard of “Western civilization” against Arab extremism.
But some Palestinians—Muslim and Christian alike—are, to a lesser degree, also guilty of falling into this trap. The former often frame the Palestinian resistance as an exclusively Muslim struggle; meanwhile, some Christians participate in the very discourse that led to their marginalization in the first place.
The Gaza genocide, however, has proven this logic not only erroneous but unsustainable. Throughout the slaughter, Israel has destroyed over 800 mosques, but it has not spared the Christian sanctuaries.
On October 19, 2023, an Israeli airstrike targeted a building within the compound of the Church of Saint Porphyrius—one of the oldest churches in the world.
In that massacre, 18 Palestinian Christians were killed, their blood mixing with the dust of a sanctuary that had stood for 1,600 years. It was a devastating reminder that the Israeli missile does not distinguish between a mosque and a church, nor between the blood of a Muslim and a Christian.
The story of the French nun is worth every bit of the attention it received, as is the targeting of pilgrims. But as the headlines move on, we must remember that Palestinian Christians endure a suffering that is collective and rooted in the very soil of Palestine. They are now an endangered community, and Israel is the culprit. Without them, Palestine is not the same.
The Palestinian homeland is only whole when it is the cradle of religious coexistence, and Palestinian Christians sit at the very heart of that history, dating back two millennia. Their survival is not a ‘minority issue’—it is the survival of Palestine itself.
Before the docuseries’ new season debuts, it is already known the club has fallen short of getting promoted to the Premier League, but the show is about much more.
Love may not be all you need these days, but a picture with it might help. This you can get beginning later this year when the Huntington installs its newly acquired “LOVE” sculpture by Robert Indiana near the Virginia Steele Scott Galleries of American Art.
Indiana first unveiled the iconic sculpture almost 60 years ago — also just a few days before Mother’s Day — as part of his 1966 solo exhibition at Stable Gallery in New York. While this early version measured only 12 inches high, the Huntington’s edition is 12 feet tall and 12 feet wide, making it an ideal vessel for you and your, ahem, loved ones to snap a pic with.
The polychromed aluminum sculpture is third in an edition of five, with two artist’s proofs, and will be the only “LOVE” sculpture in Southern California available to the public. It arrives at the museum’s San Marino campus as a gift of Terri and Jerry Kohl, who also provided funding for installation and long-term care.
“LOVE” is one of the most recognizable pieces of Pop art ever created — a ubiquitous symbol associated with a variety of social causes, movements and groups, including the LGBTQ+ community during the height of the AIDS crisis.
Indiana’s design for “LOVE,” featuring an L and slightly askew O stacked atop a V and E, first appeared on the Museum of Modern Art’s annual holiday card in 1965, and was apparently among the institution’s most popular holiday cards of all time. The artist completed his first monumental love sculpture, made from steel, in 1970. That sculpture is part of the Indianapolis Museum of Art’s collection.
In a news release, Huntington President Karen R. Lawrence said that Jerry Kohl believed that “LOVE,” “belonged in a place where it would be seen and experienced by millions of visitors in the years leading up to the Los Angeles Olympics, during the games, and far beyond. He recognized The Huntington as a cultural destination uniquely positioned to steward the work and share it with a broad public audience.”
“LOVE” will join a number of other outdoor installations across the Huntington’s expansive grounds and gardens, including two recently acquired sculptures by the Cuban-born artist Enrique Martínez Celaya, in addition to pieces by Sam Francis, Tony Smith and Harry Bertoia.
The sculpture also serves to expand the Huntington’s collection of American art dating from the mid-20th century on, joining works by Andy Warhol, Betye Saar, Elizabeth Catlett, Isamu Noguchi, Paul Manship, Gaston Lachaise, Elie Nadelman, Daniel Chester French, Sargent Claude Johnson, Richmond Barthé and Wilhelm Hunt Diederich.
If you’re planning a Mother’s Day jaunt to the picturesque Huntington, you won’t see the sculpture just yet, but you should still go. (This is where I wish all who celebrate a very happy Mother’s Day. Hi, hardworking, selfless moms everywhere: I see you.)
I’m Arts editor Jessica Gelt and I choose LOVE. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Freeways 2026 Los Angeles Chamber Orchestra fellows Alejandro Lombo, flute, Eder Rivera, oboe, and Nicolás Valencia, viola, and other emerging musicians perform works by Dranishnikova, Piazzolla, Mozart, Dvořák, Gaubert, Julia Moss and Ravel. 7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org
My Birthday Party Based on stories by Carl Sandburg and Viggo Mortensen, this immersive theatrical experience includes acrobats, aerialists and clowns from Cirque du Soleil and features surprise guests, with music by Veronika Krausas. Opening night performance by Thelma Houston. 8 p.m. Friday and Saturday; 2 p.m. Sunday, through May 7. Fais Do-Do, 5257 W. Adams Place, L.A. playwithsprung.com
Lorenzo Viotti in Milan, Italy.
(Vittorio Zunino Celotto / Getty Images)
Rachmaninoff’s ‘Second Symphony’ In his L.A. Phil debut, flamboyant Italian-Swiss conductor Lorenzo Viotti and violinist Lisa Batiashvili join the orchestra for a fiery program of late-Romantic works. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Picasso: Le Monstre Sacré Peter Tate’s solo performance piece, adapted by the actor and director Guy Masterson from Terri D’Alfonso‘s “The Loves of Picasso,” explores the complicated artist’s legacy from within. 8 p.m. Thursday-Saturday; 3 p.m. Sunday, through May 17. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
TJ Shin’s solo exhibition “Delta” is at Ehrlich Steinberg through June 11.
(Ehrlich Steinberg)
TJ Shin The L.A.-based artist’s solo exhibition “Delta,” rooted in game theory, consists of a multi-channel video installation, drawings and a newly commissioned text by writer and professor Sunny Xiang. 11 a.m.-5 p.m. Wednesday-Saturday, through June 11. Ehrlich Steinberg, 5540 Santa Monica Blvd., L.A. ehrlichsteinberg.com
The Sound of Music The Hollywood Hills (and San Diego and Costa Mesa) are alive with the sound of Rodgers & Hammerstein on this tour of the latest revival of the classic romantic musical set in Austria as Nazi Germany moves to annex it. Through May 24. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; May 26-31. San Diego Civic Theatre, 1100 Third Ave.; June 2-14. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. soundofmusicontour.com
SATURDAY
Ascent This world premiere of a play by the late Henry Ong details the true story of aerospace engineer and cyberneticist Qian Xuesen, who co-founded Jet Propulsion Laboratory and was instrumental in United States’ World War II efforts before being unjustly forced to return to China. Direction and dramaturgy by Diana Wyenn. 8 p.m. Thursdays-Saturdays; 3 p.m. Sundays, through June 14. Skylight Theatre Company, 1816 ½ N. Vermont Ave, L.A. skylighttheatre.org
Maintenance Artist The Laemmle “Culture Vulture” series continues with a 2025 documentary about Mierle Laderman Ukeles, who, inspired by Marcel Duchamp, inaugurated the idea that routine activities could be seen as performance art. Directed by Toby Perl Freilich. 10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com 6 p.m. May 16. Getty Center, 1200 Getty Center Drive, L.A. getty.edu
Wild Up: The Center Is Between Us The eclectic ensemble performs Robert Ashley’s “The Park” and “The Backyard,” narrated live by Christopher Rountree, from the 1978 avant-garde spoken work album “Private Parts,” before being joined by the santoor and tabla duo of Kamaljeet and Jas Ahluwalia, along with cellist Chris Votek, for new work. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
SUNDAY
Los Angeles Children’s Chorus LACC presents two spring concerts: Sunday, featuring the Apprentice Choir, Intermediate Choir and Chorale; and May 17 with the Concert Choir, Young Men’s Ensemble and Chamber Singers. 7 p.m. Sunday and May 17. Pasadena Presbyterian Church, 585 E. Colorado Blvd. lachildrenschorus.org
MOMentum Place Celebrate Mother’s Day in the great outdoors with aerial and circus performers, dancers and musicians, preceded by a brunch from chef David Gussin and Prose Restaurant. Brunch, noon; performance, 2 p.m.; Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com
Shirley MacLaine, Debra Winger and Jack Nicholson in James L. Brooks’ 1983 hit “Terms of Endearment,” which won five Oscars.
(Paramount Pictures)
Terms of Endearment James L. Brooks won Academy Awards for writing, producing and directing this adaptation of Larry McMurty’s novel, which should resonate with anyone who has or had a challenging relationship with their own mother on this Mother’s Day. Featuring a stacked cast including Oscar winners Shirley MacLaine and Jack Nicholson, and nominees Debra Winger and John Lithgow, as well as Jeff Daniels and Danny DeVito. Presented in 35mm. 2 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
MONDAY
ASCAP Foundation Musical Theatre Workshop Three new musicals presented as live readings with musical accompaniment and expert feedback panels: “Lilyville” by Antonius Anand Nazareth (Monday); “The Waiting” by Maria Isabella Andreoli and EmmaLee Kidwell (Tuesday); and “Legendary” by Cheeyang Ng (Wednesday). 7 p.m. Monday-Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
TUESDAY
Rachel Ward, left, and Jason Patric in “After Dark My Sweet.”
(Kino Lorber)
After Dark My Sweet Actor Jason Patric presents a screening of his personal 35mm print of director James Foley’s 1990 neo-noir adapted from the Jim Thompson novel. Introduced by Alex Winter and followed by a Q&A with Patric and writer/film critic Travis Woods. 7:30 p.m. Vidiots, 4884 Eagle Rock Blvd. vidiotsfoundation.org
Sarah Andon “Eclectic Engagement: Explorations in Sound, Space, and Collaboration” features the L.A.-based flutist and an all-star ensemble, including percussionist Nick Terry, pianists Todd Moellenberg, Bryan Pezzone and Aron Kallay, flutist Sarah Wass, violinist Shalini Vijayan and electronicist Cristina Lord performing works by Toru Takemitsu, Sungji Hong, Gabriela Lena Frank, Nicolás Lell Benavides, Herman Beeftink, Jerry Goldsmith, Ennio Morricone and Nino Rota. 8 p.m. Monk Space, 4414 W. 2nd St., L.A. brightworknewmusic.com
WEDNESDAY
Alexandra Silber adapted a new book for Lerner & Loewe’s classic “Brigadoon.”
(Jason Armond / Los Angeles Times)
Brigadoon Tyne Daly headlines this new adaptation by Alexandra Silber of the classic Lerne & Loewe musical about a mysterious Scottish village that only appears once a century. Directed by Katie Spelman, with original dances created by Agnes Demille. Through June 14. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org
A Sea Symphony Pasadena Chorale performs Walt Whitman’s words with Vaughan Williams’ music, featuring solos by sopranos Rachel Adcock and Asha Srikantiah and baritones Eric Werner and Tobin Sparfeld. 7:30 p.m. First United Methodist Church Pasadena, 500 E. Colorado Blvd. pasadenachorale.org
THURSDAY
Camerata Pacifica The ensemble performs a program that includes works by Beethoven, De Mey and Bunch, and concludes with Shostakovich’s “Symphony No. 15 for Piano Trio and Percussion,” arranged by Viktor Derevianko. 8 p.m. Thursday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. May 15. Academy of the West, 1070 Fairway Road, Santa Barbara. 8 p.m.; 3 p.m. May 17. Bank of America Performing Arts Center, Scherr Forum, 2100 E. Thousand Oaks Blvd.; 7:30 p.m. May 19. The Huntington, 1151 Oxford Road, San Marino. cameratapacifica.org
Arts anywhere
New and recent releases of arts-related media.
Open-Door Playhouse Playwright Bernadette Armstrong launched this online venture during the pandemic to help other authors get their work heard by audiences. The endeavor has continued, producing dozens of audio versions of 10-minute and one-act plays delivered as podcasts. The latest release, “Holy Hell,” written by Barbara Lindsay, features a man (played by Gary Lamb, who also directed) and a woman (Elaine Mello) separately recounting the tragedy that united them. Open Door Playhouse is free, relying on listener donations. opendoorplayhouse.org
“Rupert García: The Making of an American Artist, a Testimonio” by Mario T. García.
(Rutgers University Press)
Rupert García: The Making of an American Artist, a Testimonio An oral history 30 years in the making, the book chronicles the life and career of the American Chicano visual artist and activist, whose work as a painter, pastellist and screen printer both documented and galvanized cultural movements from the 1960s onward. The book’s author, historian Mario T. Garcia of UC Santa Barbara, will be in town for a book signing at 7:30 p.m. on Friday at Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena. vromansbookstore.com Rutgers University Press: $35, 215 pages.
Arturo Sandoval, who frequently performs in Los Angeles, has a new album, “Sangú.”
(The Wallis)
Sangú Trumpeter, bandleader and composer Arturo Sandoval’s latest album — the title is a malapropism of “sounds good” made during the studio sessions — features 12 tracks of Afro-Cuban funk, blending bebop, fiery jazz fusion and batá-inspired rhythms. Sandoval will perform June 4-7 at Blue Note Los Angeles. Self-released: digital download, $9.50. arturosandoval.com
— Kevin Crust
Culture news and the SoCal scene
Maria Wirries and LJ Benet in “The Lost Boys,” from left; Sara Chase and Brad Oscar appear onstage during curtain call of “Schmigadoon!” on opening night, and Joshua Henry and the cast of “Ragtime.”
(Matthew Murphy, left and right; Valerie Terranova / WireImage, center.)
Tony Award nominations were announced early this week with musicals “The Lost Boys” and “Schmigadoon!” leading nominations with 12 each, followed by “Ragtime” with 11. Malia Mendez has the full list, here, and Times theater critic Charles McNulty followed up with a story on 10 standout Broadway performances and shows worth celebrating, including Laurie Metcalf in both Samuel D. Hunter’s “Little Bear Ridge Road” and this spring’s revival of “Death of a Salesman.”
The Pulitzer Prizes were announced the day before the Tony nominations, and Bess Wohl’s play “Liberation” took home the 2026 Pulitzer for drama. The win foreshadowed what would come next: “Liberation” was nominated for five Tonys, including best play and director.
McNulty also rounded up three major Broadway musicals in one handy, sweeping review: “Cats: The Jellicle Ball,” “The Lost Boys” and “Titanique.” “Cats,” notes McNulty, has managed to distance itself from its kitschy reputation and checkered past to become “one of the hottest tickets of the Broadway season. It didn’t take a miracle, only a complete conceptual overhaul.” Happily, “The Lost Boys” also won McNulty over despite his “antipathy to vampire schlock.” “Titanique” was not McNulty’s favorite, but he noticed that his fellow theatergoers couldn’t get enough.
Joe Mantello at his home in New York on Friday, April 3, 2026.
(Evelyn Freja / For The Times)
There was not one free moment in McNulty’s New York itinerary in early March. While attending a flurry of shows, our critic also sat down to a brunch interview with director Joe Mantello during rehearsals for the new Broadway revival of “Death of a Salesman.” “A two-time Tony-winning director (‘Assassins,’ ‘Take Me Out’), Mantello has a résumé so extensive that it can be startling to recall that he’s the original Broadway director of “Wicked,” the blockbuster that has allowed him to write his own ticket. There aren’t many theater directors who can pick and choose their projects without worrying about their next paycheck, but he has become the Mike Nichols of our era in terms of the breadth and consistency of his theatrical success,” writes McNulty,
The Times got the scoop that Holocaust Museum LA will reopen June 14 as part of the new $70-million, 70,000-square-foot Goldrich Cultural Center. The center doubles the museum’s original 35,000-square-foot footprint and broadens the institution’s “focus on inclusion and community, with a diverse range of events and ramped-up educational offerings,” writes Times contributor Solvej Schou.
Composer John Williams, 94, attended the dedication ceremony of the new John Williams Performing Arts Center at North Hollywood High on April 29, 2026.
(Genaro Molina / Los Angeles Times)
Times contributor Tim Greiving, who is also the author of a biography on John Williams, covered a ribbon-cutting ceremony for the new John Williams Performing Arts Center at North Hollywood High — the famed film composer’s alma mater. Williams, 94, was in attendance and gave a few brief remarks in front of a crowd filled with other notable school alumni and friends including Kathleen Kennedy.
The Times published an exclusive on Pasadena Playhouse’s new 2026-27 season, which includes the post-Broadway debut of “Real Women Have Curves: The Musical.” Other offerings include a new production of Friedrich Dürrenmatt’s tragicomedy “The Visit,” the L.A. premiere of “Passing Strange,” and a revival of “Cat on a Hot Tin Roof.”
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Comedian Kathy Griffin is staging her first-ever residency at the Plaza Theatre in Palm Springs. “Can You Handle This Heat? The Kathy Griffin Palm Springs Residency,” is scheduled to run from Jan. 31 to Feb. 26, 2027. Tickets go on sale today.
The Soraya has announced it 2026-27 season featuring eight noteworthy debuts and 45 performances, including Sutton Foster with Chris Walden and the Pacific Jazz Orchestra; the eclectic band Snarky Puppy; Majo Aguilar con Mariachi y Banda; Dance Theatre of Harlem; National Symphony Orchestra of Ukraine; Los Angeles Philharmonic; Audra McDonald; and the National Symphony Orchestra. The new lineup also introduces Chad Hilligus as the Soraya’s new executive and artistic director.
Grand Performances announced its 40th annual Summer Concert Series featuring free outdoor shows in downtown L.A.’s California Plaza from June 6–Aug. 29. Highlights include a June 13 anniversary celebration with Jungle Fire, Healing Gems and DJ Liza Richardson; a tribute to the music of Stevie Wonder with DJ Spinna, Monalisa and MC Cognito; and a tribute to Roy Ayers led by composer Sly5thAve with a 12-piece ensemble including drummer Kassa Overall.
