Directed by Alice McShane, “Jared Leto: Hollywood’s Dark Secret,” which debuted Wednesday in the U.K., revealed new claims of criminal sexual conduct by the 54-year-old actor and musician from four women, including a possible instance of statutory rape in California. In the film, a total of 10 women recount allegations of sexual assault, along with inappropriate text messages, phone calls and behavior that occurred from 2002 to 2016. Leto has denied the allegations.
To ensure the integrity of the documentary, the hour-long program was not announced ahead of time.
“Everything came out at once,” says producer Jessica Sartenaer, speaking from London over Zoom alongside McShane on Friday morning. “That was all very much part of the strategy because we didn’t want to leak anything before the investigation came out.”
McShane began working on the film after Los Angeles-based DJ Allie Teilz reshared in April 2025 her Facebook post from 2012 in which she accused Leto of trying to “force himself” onto her backstage at a concert. Teilz described the actor as “Hollywood’s most persistent predator.” About 40 women contacted Teilz with their own allegations, according to Sartenaer. In June 2025, weekly newsletter Air Mail published accusations of impropriety against Leto by nine women, which he denied.
“I began ringing around trying to find the women who’d written into Allie,” McShane says. “When I was speaking to women, I realized there were other journalists on the trail. So I did think there was going to be something published relatively quickly, which we can’t compete with because we have a whole different set of considerations. It takes a lot longer to make.”
Social media was the main resource for finding people willing to speak on the record. The filmmakers say they discovered more than 120 separate allegations online.
“But that doesn’t necessarily mean these are all women who want to speak about their experiences,” McShane says. “They’ve posted anonymously for a reason. It was a lot of hours spent digging through hundreds of people from across Leto’s life and career — people who had worked with the band, people in his acting life, his fashion life. We had an enormous spreadsheet. It was a really in-depth process.”
Ultimately, 10 women agreed to be interviewed on camera. The filmmakers offered each various options of anonymity depending on their level of comfort. None are completely anonymous, although only three used their real names. All of their real voices are heard, which McShane says is unusual.
Sartenaer adds, “The courage it takes to come forward and come up against a powerful man like Leto is immeasurable. It’s absolutely incredible what these women have done, and the anonymity decision is a very personal one. Right away, [the women had] this gut instinct about the level of anonymity that they would like.”
“You really learn from a duty-of-care perspective how to best look after the women,” she says. “There’s always this balance of wanting to investigate the story, but also understanding these are people who have gone through incredibly painful experiences and they’re sharing very personal things with you. You never want to push. They are in control. You can never make these things happen. It has to come from the women.”
The initial investigation began in London and the filmmakers visited Los Angeles twice in the months that followed. The first interview was with a woman named Alex last fall. In the documentary, the former model recalls being invited to a 30 Seconds to Mars concert at London’s O2 in 2013 (Leto is the band’s frontman). She says his female assistant then brought her to an afterparty at the members’ club Shoreditch House. Although she was 19 at the time, she told Leto she was 17 to protect herself. She says the musician, then 41, replied, “Age is just a number, and, anyway, we’re in Europe.”
Alex was sent by Leto’s assistant to another afterparty at a nearby hotel, but Leto was the only one there, she says. Alex asked for a phone charger and cash for a taxi home, but was denied. When she asked if she could crash on the sofa in the hotel room, she says Leto threatened to rape her.
“Right from when we started investigating and started hearing from these women, [we were] noticing these patterns of behavior,” McShane says. “[Alex] is an extraordinary communicator. The women we were speaking to, all of them, are amazing storytellers, and resolute about telling their stories. Each time we spoke to somebody it reinforced the importance of getting it out.”
An explosive new documentary revealed new claims of criminal sexual conduct by actor and musician Jared Leto.
(Pascal Le Segretain / Getty Images)
Sartenaer says Leto’s seeming fixation with women of a young age was something “we were interested in investigating right off because of the pattern we noticed in the reposts from Allie Teilz.”
“Many of them did mention that they were teenagers at the time of the alleged offenses,” she says. “We knew that was a thread to follow right from the beginning.”
One woman, named Clara in the documentary, spoke about having sex with Leto for the first time when she was 17 and he was 34. The encounter took place at his home in California. In the film, she describes having a conversation with Leto about the age of consent in the state. “He just kind of shrugged it off, like it wasn’t a huge concern for him,” she says.
As the documentary points out, the age of consent in California is 18. An adult having sex with someone underage can constitute statutory rape. The filmmakers can’t comment on the law or whether there will be any legal repercussions for Leto. However, Mike Radford, executive producer at BBC Current Affairs, says what distinguishes “Jared Leto: Hollywood’s Dark Secret” from prior investigations is that the film showcases alleged criminal conduct.
“That’s a different level of potential wrongdoing,” Radford says, speaking on the phone from London. “From that point of view, it becomes a more serious story, and it goes beyond misunderstanding to something more worrying.”
The filmmakers sent a “lengthy right of reply” letter to Leto and gave him two weeks to respond. They followed up several times with his team to no avail. It wasn’t until after the documentary aired that Leto denied the allegations in a statement, which was shared Wednesday with The Times.
“I have never sexually assaulted anyone in my entire life,” he said. “These claims are absolutely and categorically false.”
The documentary combines the interviews with reenactments and archival footage. Sartenaer says they had a “wealth of material” to pull from.
“There is so much content about him,” McShane adds. “And he’s so overtly sexual on the public stage. We’ve got examples in the film of him, like when he’s in the press room at the Oscars. Everything is packed with innuendo. There are examples where he’s being very inappropriate with young women on the stage. All of that placed next to these interviews can be so chilling and there were countless examples of that available to us.”
The filmmakers worked with a limited budget and a small team of three: McShane, Sartenaer and cinematographer Theo Tennant. In total, they spent a year and half working full time on “Jared Leto: Hollywood’s Dark Secret.”
Alice McShane, left, and Jessica Sartenaer interview entertainment journalist Maureen Ryan for “Jared Leto: Hollywood’s Dark Secret.”
(Theo Tennant / BBC)
The biggest challenge was the fact that “Hollywood is an impenetrable world,” Sartenaer says. The documentary features interviews with two people who worked with Leto speaking completely anonymously, but they were difficult to find and get on the record.
“It really took a very, very long time to have a breakthrough on the insider front [and] to actually get people to start talking with us,” Sartenaer says. “Hollywood is such a precarious place and it’s difficult to get into Hollywood, and I think once people are in, it’s probably a terrifying prospect. One foot stepped wrong could see them catapulted out of it again. We saw that nervousness in trying to speak with people. There’s a real culture of secrecy.”
Despite that, there are hopes that “Jared Leto: Hollywood’s Dark Secret” will encourage other potential victims to speak out.
“The investigation is ongoing,” Sartenaer says. “What these women have done by coming forward [is commendable]. We think their courage will encourage other women to speak their truth, whoever it is about.”
Radford says the BBC is continuing its investigation into the allegations surrounding Leto.
“We would hope that should our investigation continue we would have enough material to make a subsequent documentary,” he says. “We’re not working on a documentary now because I’m not commissioned to do so. But it is our intention.”
At present, the BBC doesn’t have plans to air “Jared Leto: Hollywood’s Dark Secret” in the U.S. It was offered to the U.S. market while in production, according to Radford, but not picked up for distribution.
“There was no legal reason it isn’t airing there,” Radford says. “In fact, the legal threat is much greater in the U.K. because the libel laws are tougher in the U.K. So there was no fear around putting it out in the U.S.”
McShane and Sartenaer have been heartened by the immediate response to the documentary. But they also hope the momentum will continue.
“I hope we keep seeing the reverberations and I hope the conversation doesn’t die,” McShane says. “Ten years ago at the height of #MeToo this would have really punched through. The general outrage has cooled a little bit when stories of this nature are published. But we hope the conversations stay strong because it’s really important people keep talking about this.”
Resources for survivors of sexual assault
If you or someone you know is the victim of sexual violence, you can find support using RAINN’s National Sexual Assault Hotline. Call (800) 656-HOPE or visit online.rainn.org to speak with a trained support specialist.
It’s been nearly five years since Spider-Man’s last big-screen adventure, but your friendly neighborhood webslinger is finally back.
Directed by Destin Daniel Cretton, “Spider-Man: Brand New Day,” in theaters now, follows a Peter Parker (Tom Holland) who no longer has much of a life outside of his vigilante crime-fighting and keeping tabs on his loved ones (Zendaya, Jacob Batalon) from afar.
The movie’s biggest reveal involves the identity of the villain played by Sadie Sink — and plenty of questions remain about her future and what her appearance means for a certain fan-favorite mutant superhero team.
“Brand New Day” features just one brief end-credits sequence to tease what’s next for Spidey. Here’s how it connects to upcoming MCU installments “Avengers: Doomsday” and “Secret Wars.”
Ned (Jacob Batalon) created the Spidey Tracker app shown in “Spider-Man: Brand New Day.”
(Jay Maidment / Sony Pictures)
What happens in the ‘Spider-Man: Brand New Day’ post-credits scene?
The bonus footage shown after the full credits of “Spider-Man: Brand New Day” roll is more of a tease than a proper scene. The brief stinger involves the Spider-Man tracking app created by Ned, which allows users to log any sightings of the webslinger. The Spidey Tracker map screen shown in the post-credits tag at first shows the friendly neighborhood hero’s location as being “unknown” at that moment. The map then zooms out of New York and away from Earth before the Spider-Man icon indicates he has been spotted somewhere in outer space.
Does that mean Spider-Man is returning for ‘Doomsday’?
Maybe! The expansive cast list for “Avengers: Doomsday” includes members of the Avengers past and present, the Fantastic Four, the X-Men and many others, but one glaring omission has been Tom Holland as Spider-Man. It’s possible that the secretive Marvel has stayed mum just to keep his appearance a surprise and Spidey will not only appear but also join some of the other heroes — like the Fantastic Four, who have a spaceship — as they venture out to somewhere in space.
It seems unlikely that Marvel would keep Spider-Man’s involvement in “Doomsday” a secret for so long only to spill the beans without fanfare in a brief post-credits stinger, though.
Tom Holland in “Spider-Man: Brand New Day.”
(Sony Pictures)
Will Spider-Man be in ‘Secret Wars’?
Probably? Not much is known about “Doomsday’s” follow-up, “Avengers: Secret Wars,” which is reportedly scheduled to start filming “soon.” Throughout the “Brand New Day” press tour, Holland has maintained that he knows absolutely nothing about the upcoming movie.
But “Secret Wars” gets its name from a couple of Marvel comic book storylines that involve various heroes being pitted against each other. Although MCU works are usually not direct adaptations, Spider-Man was involved in both comic crossovers.
The 2015 “Secret Wars” story featured some plotting by Doctor Doom and saw multiverses collide, be destroyed and merge. During the crossover, the main continuity’s Spider-Man teamed up with another dimension’s Spidey — Miles Morales — who then ended up moving to the main Marvel universe in the event’s aftermath.
Spider-Man also played a part in the very first “Secret Wars” crossover in the 1980s. In this story, various heroes were plucked away from their usual haunts by a mysterious powerful being and pitted against similarly assembled villains (including Doctor Doom). It was during this crossover that Spider-Man first donned the sentient black suit that would become known as Venom.
Both “Secret Wars” series saw characters displaced onto a patchwork planet called Battleworld. The Spidey Tracker info from the “Brand New Day” post-credits scene could be teasing that’s where Spider-Man will eventually land.
What do we know for sure?
“Brand New Day” concludes with the message “Spider-Man will return.” Fans will just have to wait to see when, where and which Spider-Man will be involved.
“Avengers: Doomsday” is slated to hit theaters Dec. 18, while “Secret Wars” is scheduled for a Dec. 17, 2027, release.
The official trailer for the film adaptation of the African fantasy novel “Children of Blood and Bone” is making a splash online, and the director just revealed that she almost didn’t make the film.
The adaptation of the first installment of author Tomi Adeyemi’s bestselling “Legacy of Orïsha” fantasy trilogy is slated to hit theaters Jan. 15. The story follows Zélie Adebola, a courageous young woman with dormant magical abilities who has drawn the attention of tyrannical King Saran, the ruler of the kingdom of Orïsha, a fictional country in an alternative precolonial Nigeria inhabited by two distinct ethnic groups: divîners (inherently magical people who have had their magic stolen by King Saran) and the non-magical kosidán.
On Monday, Paramount held a “Children of Blood and Bone” trailer launch event at the Brooklyn Academy of Music in New York City. In a discussion moderated by “Master of None” actor Lena Waithe, Prince-Bythewood and the cast talked about the making and almost-not-making of the film.
According to Prince-Bythewood, helming “The Woman King” felt like the thing she’d been working toward her entire career. “And then this came and it was something even bigger and in a space that we hadn’t got to see ourselves in, which was big epic fantasy,” she said. “And as much as I needed a little rest, I couldn’t say no. And the beauty of this is that I was actually offered this film two different times over the last seven years. And both times I turned it down.”
Prince-Bythewood admitted that she wasn’t emotionally ready to hop on board and that she didn’t know how to make an epic fantasy film yet. “But there was something about this third time when they came to me,” she said.
“I still said, ‘I already turned it down so you’re wasting your time.’” She continued that she had realized, in retrospect, that the third offer came when it was supposed to come. Plus, with “The Woman King” under her belt, now she knew how to make the movie.
“There was something so deep and guttural about my connection this time when I read it,” she said. “I felt so connected to this young hero who’s fighting to find her purpose. There is so much going on in the world right now, and there’s so many themes within this that speak to that.”
Prince-Bythewood gushed about loving the book, the story and the characters. “Now how do I actualize it? How do I make it a film? And that’s the exciting and scary part. How do we make magic feel cultural?”
The director said her big-screen adaptation was “beautifully inspired by Nigeria and also inclusive of the whole diaspora. We wanted all of us to be able to see ourselves within this, just our complete and utter humanity, all the beautiful hues.”
The remark is notable in light of behind-the-scenes drama that has unfolded over the last year and a half. Prince-Bythewood co-wrote the script with Adeyemi, but the author recently distanced herself from the book-to-screen project and said she would not see the film after a casting controversy involving Stenberg, who portrays Princess Amari in the film.
In February 2025, Stenberg posted a since-deleted nine-minute TikTok addressing backlash that suggested colorism was at play when she landed the gig. She told followers that Adeyemi had given the actor her blessing when cast as the series’ princess.
“I am four months into training for ‘Children of Blood and Bone’ and I am getting my ass whooped,” Stenberg joked in the video, per BET.
“I had the opportunity to meet Tomi, the novelist, for the first time. … And she goes, ‘Amandla, I want you to know that when you were a little girl and you were cast as Rue in ‘The Hunger Games,’ and people said that Rue’s death wouldn’t be as sad because you’re a Black girl — that inspired me to write this series so that Black girls like you and Black girls of all shades could have a story written about them.’”
Shortly after Stenberg said Adeyemi gave the actor her blessing, they had a text exchange that hinted at a change of heart or different story entirely.
This month, the Nigerian American author posted a since-deleted video on TikTok addressing fans who had been — according to her — asking her the same question, “Why don’t you post about the adaptation of your first film adaptation anymore?”
“There is a reason I will not post anything about the adaptation of my work,” the author wrote in what appeared to be screenshots of a group chat. “I have not seen the film, and I will not watch it.”
Alongside the screenshots of her comments in the group chat, she shared a February 2025 exchange with Stenberg. Adeyemi shared only her final message to the actor, which read, “Do not ever use my name in an interview or video again. Do not text me. Do not call me.” That exchange is followed by a notification that she blocked Stenberg.
The message from Stenberg that preceded Adeyemi’s reply was not shown in full.
If you get out to Joshua Tree and the night is clear, look up. You’ll see not just the stars, but a massive swath of the Milky Way. It’s a reminder that the vastness is always present, beyond the city’s bright lights. And once dawn comes, the desert performs the same magic: long horizons, unfamiliar landscapes, the creeping feeling that we are small, short-lived creatures on an immense ancient planet. No wonder some people find it unsettling.
On the Shelf
Yellow Pine
By Claire Vaye Watkins Riverhead Books: 256 pages, $29
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
Not the characters in Claire Vaye Watkins’ new novel “Yellow Pine,” who embrace the desert in the extreme. They live at the far side of the Mojave Desert where California meets Nevada. Wherefore the pines, you ask? The book’s title is a wry joke — “Yellow Pine” is not a forest, not a tree. It’s a massive solar array slated to be built nearby in the Nevada desert. A ragtag crew of desert dwellers are hoping to stop it, or at least slow down the grinding wheels of capitalism that see the desert merely as an empty space for the taking.
Primary among them is Rose, a 30-something single mom who lives near the end of a very, very long dirt road in a cabin she calls Nothingness Flats. Rose works for an environmental nonprofit that has gone remote because it’s the pandemic; she often spirals at the state of the world. “Sometimes I think I can feel the planet just hemorrhaging under all this greed. Like it’s tectonic,” she laments.
Rampant environmental destruction notwithstanding, the novel kicks off with the joyous return of Miles, the guy who got away. He is an outdoor person, like Rose; has trouble fitting into societal norms, like Rose; and he is an ideal intellectual partner for her, bantering, well-read and ready to engage. Also, they have great sex.
Lest I portray this as a typical summer beach read, Watkins’ writing is in a special, different mode. Her latest books somehow cut past narrative traditions and portray plot and emotion more directly. Another novel might find Rose, after she decides she loves Miles so much that she wants to get pregnant, going to a doctor, getting tests, worrying about being almost 40 and what that means. Rose does none of that — she just suddenly deeply wants a baby, and that desire is vivid in the text. Overexplained storytelling is set aside for something that’s striking and vivid.
When I reached Watkins via Zoom to talk about the book, I asked her how she does it. “Partly it’s an intuition I have about what makes an interesting story,” Watkins says. “A story requires a lot of improbable decisions. Maybe they’re not great decisions, but the person doesn’t know that at the time.”
In “Yellow Pine,” Miles is not without some red flags. In my reviewer’s copy, I found myself scrawling “bad idea!” in the margin, trying to warn Rose about him. It gives the story some tension, and shows that our heroine isn’t perfect — she’s just doing her best under desert skies.
Rose lives in Tecopa, population 120, among people who’ve chosen the isolation, quietude, natural beauty and brutal conditions on purpose. Of the real-life people in these communities, Watkins says, “It’s really tough. The environment is extreme. There are no amenities. There’s no jobs. … I think there’s a refusenik quality to them.”
Nevertheless, some of them come together to try to forestall the installation of the solar array. They point out that “solar farm” is a misnomer because the land — an alluvial plane with Yucca colonies dating back hundreds of years, creosote rhizomatic rings even longer — will be scraped and fenced. What happens to the endangered desert tortoises is awful. These activists are trying every legal recourse and have set up a tiny camp at the edge of the property. Sweetly, and with little hope, they make a small community of people who understand each other and the desert landscape that others see as a blank space on the map.
“In California most of the biodiversity in the state is in the inland deserts, partly because a lot of the other ecosystems have been totally destroyed, you know? It’s a very alive place,” Watkins explains.
In “Yellow Pine,” Rose’s conviction that she should get pregnant grows to a point where she comes up with a wild scheme to make that happen. It is very funny, outsized and unexpected. It’s a small individual resistance to the impending destruction of the desert.
Watkins is very good at making a humorous turn at the end of thoughts, sentences, books. This is her fourth. Her debut, the short story collection “Battleborn” in 2012, set her on a trajectory of accolades; 2021’s “I Love You But I’ve Chosen Darkness,” was an L.A. Times book prize finalist. She is currently a professor of writing at UC Irvine.
“The thing I love about novels, writing them and reading them, is that it’s private thoughts,” Watkins says. “It’s this cool technology that we’ve come up with to deal with the fact that we don’t know what’s going on in each other’s heads and hearts and how painful that can be.”
She adds that a novelist’s job is to care about the reader. “There’s something really beautiful about, I’m going to do my very best with my part and then I give it to you, and I let it go and I trust you and I respect you,” she says. “I love the world when I’m writing and my books are like acts of love, partly because I really struggle. I’m not walking around loving my fellow man easily.”
When our Zoom began, she apologized for the noises outside — construction, dog walkers, gardeners. I couldn’t hear them at all, but I got the impression that those intrusions and distractions were weighing on her. “I feel like I have a very sensitive instrument,” she says. “I get a little agitated and the pace is really, really different.”
I had been expecting to reach her at an improbable desert outpost, like a Death Valley library with Wi-Fi, but instead reached her in Orange County. It’s for her job, and also as a part-time parent, much easier for amenities. It’s a busy town where there are lots of people, lots of businesses, lots of traffic, the hectic pace of modern life — but still, the desert has its pull. She splits her time between the two locales.
“Yellow Pine” is a testament to her beloved remote corner of the Mojave, its beauties, hardships and endangerments. The place has been an essential part of her creative process and project. “What we do for fun in Tecopa is like, watch the sky. That’s our entertainment, you know?” she says, reflecting on the long moments of silence that stretch out over the evenings. “And it’s like, ‘wow.’”
A piece of iconic Los Angeles architecture and one of pop culture’s most recognizable exteriors is on display as the Pasadena home featured as Wayne Manor in TV’s original “Batman” hits the market this month for $32 million — less than a year after it was last sold.
The seven-bedroom, 11-bathroom Jacobean Tudor Revival home on 5 acres of gated land was built in 1928 by the L.A.-based architectural firm Morgan, Walls & Clements. This is the same firm responsible for some of L.A.’s most fantastical and beloved architectural creations including the Wiltern, El Capitan and Mayan theaters. It’s located at 380 S. San Rafael Avenue in Pasadena, in a lush, wooded area above the Arroyo Seco near the Rose Bowl.
The home, which features a stately mahogany main staircase and a genuine butler’s pantry worthy of Alfred Pennyworth, was made famous by the “Batman” TV series, which originally aired on ABC from 1966-68. During that time a man named Norman Preston van Valkenburgh lived there with his family. Film crews shot at the home for three days in 1966, but only external shots ended up being used as stock footage for Wayne Manor.
Over the years fans began to confuse the mansion with another nearby estate — the work of one of the city’s most prominent Africa American architects Paul R. Williams . The home, which The Times cheekily called an “imposter” in a 1989 article, burned down in 2005 while being renovated by its owner, Michael Hammer, grandson of the late oil tycoon Armand Hammer. At that time, crowds of “Batman” fans gathered before the smoldering ashes lamenting the loss only to discover they had the wrong house.
It will take just one super fan with Bruce Wayne-deep pockets to snap up this dreamy estate. Spoiler alert: There is no Bat Cave, but there is a pickleball court, a resort-style pool, a private theater and an Architectural Digest pedigree.
I’m Arts editor Jessica Gelt counting the money in my swear jar and dreaming big. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings of L.A.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
Jeff LeBeau, left, and Tim Cummings in the West Coast premiere of Samuel D. Hunter’s “Grangeville” at the Ruskin Group Theatre Arts Center, directed by John Perrin Flynn.
(John Perrin Flynn)
Grangeville The West Coast premiere of Samuel D. Hunter’s two-hander about a pair of estranged brothers concludes its acclaimed run at the Ruskin next weekend. In his review, Times theater critic Charles McNulty wrote that the playwright “turns his characters inside out in a play that powerfully illuminates a subject that has rarely been treated onstage with such unflinching honesty and sensitivity: How does one integrate a past that took everything to escape?” 8 p.m. Fridays and Saturdays; 2 p.m. Sundays through Aug. 2. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica. app.arts-people.com
Sounds of LA County Country music in Sylmar and Quartz Hill; disco, soul and R&B in South L.A.; regional Mexican music in Florence-Graham and La Puente; deep house, Afrobeats, hip-hop and funk in East Compton; global acoustic in Willowbrook; and live salsa in East L.A. are this week’s offerings in the free summer series from LA County Parks and Nextfest LA. The program continues through August. 6-9 p.m. Friday, Saturday and Thursday. Check website for exact days and locations. soundsoflacounty.com
SATURDAY
Joe Hisaishi presents Music Future Coming off three nights at the Hollywood Bowl, the Japanese composer moves to a more intimate setting to celebrate the work of contemporary composers, including Nico Muhly, Bryce Dessner and Max Richter, with the LA Phil New Music Group. 8 p.m. The Ford, 2580 Cahuenga Blvd. East theford.com
The Hour of the Star Brazilian actor Bruna Fachetti stars in the world premiere of a stage adaptation of the novella by Clarice Lispector about an impoverished woman dreaming of a better life in Rio de Janeiro. The limited, five-performance engagement was conceived and will be directed by Alex Tietre from the English translation by Pulitzer Prize-winning author and Lispector biographer Benjamin Moser. 7 p.m. Saturday, Sunday, Thursday, July 31 and Aug. 1. The Broadwater Black Box Theatre, 6322 Santa Monica Blvd., L.A. eventbrite.com
SUNDAY
Boris Brejcha performs during the 2023 Coachella Valley Music and Arts Festival .
(Matt Winkelmeyer / Getty Images for Coachella)
Boris Brejcha with the Hollywood Bowl Orchestra The masked German DJ makes his global orchestral debut. The techno DJ duo Frieder & Jakob open the show. Be prepared to dance. 7 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
Murder on the Orient Express Sidney Lumet’s 1974 version of the Agatha Christie mystery, adapted by Paul Dehn, earned six Oscar nominations. Alfred Finney, nominated for leading actor, stars as the meticulous Belgian detective Hercule Poirot investigating a killing aboard the famous train. Also starring Lauren Bacall, Martin Balsam and Ingrid Bergman, who won the Oscar for supporting actress. Part of the Oscar Sundays series. 2 p.m. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org
TUESDAY
Rhapsody in Blue & Shostakovich Marin Alsop conducts the Los Angeles Philharmonic in Anna Clyne’s “Masquerade,” Gershwin’s soaring American classic (with pianist Conrad Tao) and Shostakovich’s Fifth Symphony. 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
THURSDAY
Peter Finch in ‘Network.’
(TCM)
Network “I’m mad as Hell and I’m not going to take it anymore!” shouts Peter Finch as news anchor Howard Beale in this 1976 satire directed by Sidney Lumet and written by Paddy Chayefsky. The film was nominated for ten Academy Awards, winning four: leading actor, posthumously, for Finch, leading actress for Faye Dunaway, supporting actress for Beatrice Straight, and original screenplay. Fifty years later, it feels as prescient as ever. 2 p.m. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org
Arts anywhere
André De Shields, left, Reeve Carney, center, and the cast of Hadestown perform onstage during the 2019 Tony Awards at Radio City Music Hall.
(Theo Wargo / Getty Images for Tony Awards Productions)
Hadestown: The Musical The hit Broadway show, winner of eight Tonys and a Grammy, comes to movie theaters for a special five-day engagement. “The show travels to the underworld and back again with liquified grace,” wrote Times theater critic Charles McNulty. “Unfurling like a dream, ‘Hadestown’ speaks most eloquently through its sultry jazz score.” With Reeve Carney as Orpheus André De Shields as Hermes, Amber Gray as Persephone, Eva Noblezada as Eurydice and Patrick Page as Hades. Friday through Wednesday, theaters everywhere. bleeckerstreetmedia.com
— Kevin Crust
Culture news and the SoCal scene
The Hollywood Bowl during a summer concert.
(Myung J. Chun / Los Angeles Times)
The Hollywood Bowl recently debuted its biggest sound system upgrade in decades (featuring AI-powered vocal isolation and immersive, surround-sound), and Times classical music critic Mark Swed weighed in on why audiences should be careful of what they wish for. Still, the jury is out: “It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune,” Swed writes.
Swed also attended a showing of two of Yoko Ono’s famous performance pieces at REDCAT (in collaboration with the Broad, which is currently showing a major Ono retrospective). Titled “Sky Piece” and “Cut Piece” the music-driven works featured compositions by Ono’s friend and collaborator John Cage (Swed writes about the pair’s complicated relationship in New York during the 1960s). Swed also extols “Cut Piece” as performed bythe artist known as MPA, who sat stoically as the audience lined up to cut patches of her clothing off piece by piece.
Sean Luc Rogers and James Tupper in “F— Strangers” at the Echo Theater Company.
(Cooper Bates)
Times theater critic Charles McNulty headed to Echo Theater Company to see playwright Erik Patterson’s “F— Strangers,” directed by Echo Theater Company founding artistic director Chris Fields. McNulty found the show, which features scene after scene of intimate encounters, “intriguing and frustrating in equal measure.”
“It’s over 8 feet tall, nearly 11 feet wide and travels by 53-foot semitrailer. It’s covered in more than 20,000 beads and weighs almost 1 ton — or about 2,000 pounds,” writes The Times’ Eloise Rollins-Fife in her charming profile of “Gillian,” the chandelier featured in “Phantom of the Opera’s” current North American tour.” “And eight times a week, it’s dropped atop the heads of people who pay for the privilege — just a few feet short of actually hitting anyone.” “Phantom” is currently playing the Hollywood Pantages Theatre before it moves on to Segerstrom Center for the Arts in Costa Mesa.
Enjoying this newsletter? Consider subscribing to the Los Angeles Times
Kihun Yoon, Michael J. Hawk, Nicholas Brownlee and Salmir Pirgu, from left, perform during an L.A. Opera dress rehearsal for Barrie Kosky’s “La Bohéme” at the Dorothy Chandler Pavilion on Sept. 12, 2019.
(Dania Maxwell / Los Angeles Times)
Bernard A. Greenberg, a founding board member and former chairman of L.A. Opera, has died at 95. Throughout his life Greenberg was a devoted opera fan and a champion of establishing a dedicated opera company in the city, which ultimately led to the 1986 creation of L.A. Opera. As a philanthropist, civic leader and arts advocate, Greenberg dedicated more than seven decades to steering L.A. Opera and creating the renowned company that it is today. He served on the board of directors for 40 years and held almost every major leadership position during that time. He and his wife, Lenore, also founded the Bernard A. and Lenore S. Greenberg Opera Fund — an endowment that continues to support some of the company’s most vital work.
“If anyone could be called the founder of LA Opera, it is Bernie Greenberg,” said Keith R. Leonard, Jr., Chairman of LA Opera’s Board of Directors in a statement about Greenberg’s death. “For more than 70 years, he devoted his extraordinary wisdom, leadership and generosity to building this company into the institution that serves our audiences today. Bernie believed deeply that opera could enrich lives and strengthen our community, and he worked tirelessly to make that vision a reality. His legacy is woven into every chapter of our history, and all of us at LA Opera are profoundly grateful for his friendship, his guidance and his unwavering commitment to this company.”
IAMA Theatre Company has announced its 2026-2027 season, including three world premieres, as well as its ninth New Works Festival, featuring a variety of new plays by fresh talent. The season kicks off with “Bobby Robotowitz” by Matt Schatz and directed by Casey Stangl, which will be performed from Oct. 15-Nov. 23 in two secret venues — one on the Westside in October and one on the Eastside in November. (When you buy a ticket you find out the location.) The season will end with IAMA’s first collaboration with Geffen Playhouse: the world premiere of “Closing Costs” by Grace McLeod, which was originally developed during IAMA’s 2024-2025 Emerging Playwrights Lab. For the full season lineup, and to buy tickets, click here.
There are many dedicated figures devoted to Chicano empowerment in America. But in the arts, playwright-director-impresario Luis Valdez — the migrant farmworkers’ son behind the defiantly consciousness-raising El Teatro Campesino and the historic hits “Zoot Suit” and “La Bamba” — holds a singular place, achieved with remarkable perseverance. It’s a trajectory that the immensely appealing, rollicking documentary “American Pachuco: The Legend of Luis Valdez” tracks with a vitality and purpose befitting its subject.
Anchored by Valdez himself, now in his 80s and filling the camera frame like a grandfatherly lion, the film supplements his vivid biographical details with rich archival footage and testimonials from family members, collaborators and peers. There’s also the bold but sneakily effective narrator choice in Edward James Olmos, reviving his snarling, star-making El Pachuco growl from “Zoot Suit” to remind us of one of Valdez’s essential contributions to the theatrical canon. (Olmos is also an interviewee, as is Cheech Marin, Taylor Hackford, Lou Diamond Philips and labor leader Dolores Huerta.)
Born in Delano, Calif., and drawn to literature and language as a way to combat racist assumptions about a Mexican American’s destiny, Valdez found his gifts sharpened by puppet shows, school plays and finally, the union movement in his hometown. Valdez saw that pointed, raw satire was not only necessary but a recruitment tool for the fight. We hear the underdog aesthetic term rasquachismo used to describe these early impromptu performances: essentially a colorful funkiness, “so funky that nothing can undermine you,” Valdez says. As if something earthier and stronger had been harvested in the fields with all those valuable grapes.
After the labor battles of the Vietnam War era, Valdez took El Teatro Campesino’s mission nationwide. Excerpts from a televised adaptation of his play “Los Vendidos (The Sellouts)” — about a shop selling automatons representing Chicano stereotypes — underscore the continuing tensions of assimilation, a trap disguised as acceptance. But the piece also reflected feelings Valdez had about his long-estranged brother Frank, an engineer whose alienating efforts to deny his own background and fit in formed a heavy undercurrent in Valdez’s life.
“Zoot Suit,” an ambitious, musicalized, slang-flavored staging of the violent injustice behind L.A.’s notorious 1943 Zoot Suit riots, became a smash in 1978 (its narrow-minded New York reception notwithstanding). The story of how the Ritchie Valens biopic “La Bamba” came to be — a delicate mix of legacy tending and savvy casting — is similarly rousing and illuminating, even if it seems like an omission not to dig into why, after such a big hit, more movies didn’t follow. (Although, since this is Hollywood, we can guess the reasons.)
There’s so much to chew on in David Alvarado’s portrait of life, art and activism that “American Pachuco” plays like a joyful challenge to those searching for their own voice or meaning. As engaging a chronicler of his own life as Valdez is, his lessons in how to be seen and heard — and how to stay that way — feel especially timely. In our demonizing present, the story of such a pioneering truth-teller speaks powerfully to the needs of our blended American future.
‘American Pachuco: The Legend of Luis Valdez’
In English and Spanish, with subtitles
Not rated
Running time: 1 hour, 32 minutes
Playing: Opens Friday, July 24, in limited release
If I see one more person saying that the only way to truly experience Christopher Nolan’s vision of “The Odyssey” is to see it in Imax 70mm, I am going to start turning cinephiles into swine.
I understand that this is a technically true statement. As we all know by now, Nolan went on his own hero’s journey with this film, using an unwieldy and extremely loud Imax camera to shoot it (a feat only he and perhaps a few other directors would be given the finances to do). Like many, I applaud his efforts and those that were made to increase the number of theaters capable of projecting Imax 70mm (and 70mm in general).
There is an undisputed cultural magnificence to reimagining a nearly 3,000-year-old tale in the most artistically immersive format currently available to filmmakers. Unfortunately, the vast majority of filmgoers will never be able to see this master vision; only 25 theaters in the country are capable of showing the film in Imax 70mm — eight in California (including four in the L.A. area); two in Colorado, New York, Texas and Tennessee; and one in Arizona, Florida, Georgia, Illinois, Indiana, Michigan, Nevada, Pennsylvania and Rhode Island.
So a little more than twice the number of U.S. World Cup venues this year. But then, you could watch the World Cup on TV.
Not that you’ll be able to watch “The Odyssey” on TV anytime soon. As a rigorous defender of the theatrical experience, Nolan requires that his films stay in cinemas and off streamers for much longer than the average movie — “The Odyssey” will likely not be available on NBCUniversal’s Peacock until early 2027.
It is a noble mission; movie theaters need all the help they can get and heading into its second weekend, “The Odyssey” has already more than recouped its $250 million production budget. It will need to make between $625 million to $750 million to break even, which seems more than doable. “The Odyssey” could well become the third-ever R-rated movie to gross $1 billion.
Film snobbery notwithstanding, however, much of that will be accomplished via non-Imax 70mm screenings, which come in a near-Homeric list of types. On top of reacquainting the populace with a story that most of us have not thought much about since that middle-school project or college classics class, “The Odyssey” is offering a lesson in “premium formats.”
On the film’s website, one can view the trailer in Imax 70mm, regular Imax, regular 70mm, Dolby Vision and large format. Given the limitation of personal screens, this only reveals the varying frame dimensions, but it’s pretty fun to flick through them.
What is less fun is trying to figure out on which, and where and when, you can actually see the damn thing. While not on par with battling carnivorous Cyclops or world-weary witches, getting a ticket to “The Odyssey,” even after opening weekend, is a voyage filled with many obstacles.
Including but not limited to the recent crash of the AMC app.
I may or may not have contributed to this crisis, having recently spent well over an hour trying to get a measly two tickets.
Though it went against all my anti-elitist beliefs, I did try to leverage my L.A. privilege and see “The Odyssey” as Christopher Nolan intended — in Imax 70mm. Alas, the only seats available for days, even in standard Imax and 70mm, were in the first row. I was forced to “downgrade” to Dolby Vision at the Burbank 16, where, by the grace of Athena, I found two non-front-row seats, albeit in the middle of a weekday. (Mercifully, this actually counts as work for me.)
I am not equipped to argue saturation levels or whatever else differentiates one format from the other, but the Dolby experience was quite immersive, both in cinematic detail (The storms! The slaughter! The suitors’ slopping wine!) and cardiac-disruptive bass notes.
Certainly, I felt a bit like Odysseus as I crept — drained, disoriented and trailing popcorn crumbs like Ithican sand — out into the sun. It was an experience like no other (seriously, to survive Imax 70mm, I might have to go into training).
So I am a bit bewildered as pundits declare that the success of “The Odyssey” reflects some larger theme about what film audiences want. Beyond, you know, a very powerful movie.
This is one of the most singular films made in recent years. So singular that it all but defies any kind of tea-leaf-reading or, heaven forbid, attempts at replication. I don’t see a future in Homeric spinoffs (unless someone wants to do a limited series on Circe, starring Samantha Morton), and while it is vital to celebrate the craft of Imax 70mm filmmaking and projection, the theatrical experience cannot afford to put all, or even many, of its eggs into that basket.
An increased reliance on “premium formats” may seem like an obvious weapon in the increasingly one-sided war between at-home and theatrical viewing, but it is not the answer. Or at least not the only answer. (For one thing, there aren’t enough Imax 70mm cameras or projectors to go around.)
Like sports fans, many cinephiles are happy to spend hours, and dollars, to have the ultimate experience — tales of folks driving across state lines and/or paying thousands to see “The Odyssey” in Imax 70mm echoed the recent stories of international visitors saving up for a year to see their team play in the World Cup.
Though marvelously affirming for film fans, this is not a sustainable business plan. Movies are supposed to be for everyone. Not just those with a neighborhood Imax 70mm theater or the ability to pay $30 for a regular Imax seat. Going to the movies should not require hours of research to choose a theater, negotiating with a scalper or finding AI-aided plots to game the system. And there shouldn’t be such an obvious and geographically rigged hierarchy.
Before you know it, Live Nation will be involved and then where will we be?
Christopher Nolan’s non-CGI visions of the Trojan Horse, the Cyclops, the sacking of Troy, the transformation of men into pigs do not require an “ultimate” aspect ratio to be remarkable.
(Melinda Sue Gordon / Universal Pictures)
“The Odyssey” is a legitimate phenomenon and that’s terrific; more power to Nolan and the theaters that benefit. As a solution to flagging box office, well, if Hollywood does not want to go the way of — as Timothée Chalamet famously said — ballet and opera, it cannot afford to become dependent on premium experiences that are accessible only to a small percentage of the audience.
Of course it’s great that “The Odyssey” was shot, and is being shown, in Imax 70mm and regular 70mm, especially in a year when stories that originated on YouTube are also burning up the big screen. Art should never be an equation of replacement. Supporting all manner of work is always the best way of preserving and celebrating the splendid diversity of filmmaking.
No matter how unparalleled the form, it still must follow function. “The Odyssey,” in whatever format it is seen, is an epic adventure with emotional undertones beyond the original story and an existential message that resonates far more than its smattering of modern language. Nolan’s non-CGI visions of the Trojan Horse, the Cyclops, the sacking of Troy, the transformation of men into pigs do not require an “ultimate” aspect ratio to be remarkable.
All the various formats have their proponents and the conversations about them have been entertaining and informative, but no matter the film or screen size, it’s a very good movie.
And that’s the only template Hollywood needs to follow.
ESPN’s 30 for 30 will launch the first two of six podcast episodes July 28 examining the gambling scandal that resulted in Shohei Ohtani‘s interpreter Ippei Mizuhara going to prison for stealing nearly $17 million from the baseball superstar and gambling it away.
The podcast, titled “The Betrayal of Shohei Ohtani” is told by Tisha Thompson, the ESPN investigative reporter who led the outlet’s groundbreaking coverage in March 2024.
The podcast will recount Mizuhara’s life before he began working for Ohtani in 2013 when both were with the Hokkaido Nippon-Ham Fighters in Japan. When Ohtani moved to the United States to play for the Angels in 2018, Mizuhara came with him.
Thompson interviews childhood friends and colleagues of Mizuhara, but the interview that will generate the greatest interest is a 90-minute phone call she had with him 16 hours before she published the story. Thompson got permission from Mizuhara to tape the call and it remains the only interview he has given.
Mizuhara told her that Ohtani had helped him pay off his gambling debts, a story he recanted a day later. The Dodgers fired him the same day they opened the 2024 season with a game against the San Diego Padres in Seoul, South Korea.
IRS special agent Chris Seymour gave Thompson the first interview of his career, and what he and prosecutors say about Mizuhara’s motive goes beyond the narrative that he had a gambling addiction, according to ESPN.
Another interview by Thompson is with bookmaker Mathew Bowyer, who explains on tape that his relationship with Mizuhara began during a hotel poker game with Angels players. Bowyer pleaded guilty last year to running an illegal gambling business, money laundering and filing a false tax return. He was sentenced to 12 months and one day in prison and ordered to pay $1.6 million in restitution to the IRS.
Episodes one and two — “The Letter O” and “The Interview” — will debut July 28, followed by episodes dropping every Tuesday and Thursday through Aug. 11.
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
This month, “Cool Machine,” a riff on 1980s New York in the form of a tightly plotted crime novel, arrives from Colson Whitehead. It concludes his Harlem trilogy, they say. If you’d told readers two decades ago that Whitehead would become a bestselling crime novelist, they might have thought you were kidding. He started out writing innovative novels with such intellectual and stylistic punch that the MacArthur Foundation gave him a fellowship in 2002.
His written output is fun, fearless and fantastic. Where to start? Here’s a cheat sheet.
For N.Y. lovers
With “Harlem Shuffle,” Whitehead begins his crime trilogy in the 1960s in a furniture store with stylish midcentury stock whose owner, Ray Carney, is trying not to be a fence. Love the evocation of Harlem as a place with a cool interconnected community. Worry about that cousin who’s always trouble. The follow-up, “Crook Manifesto,” is set in the 1970s. All of New York City is at a nadir; Ray is on the straight and narrow, but needs an influx of cash (for Jackson Five tickets for his daughter). Then comes “Cool Machine,” secrets to be revealed when it hit shelves this week . And as a bonus, his essay collection “The Colossus of New York,” which is vivid, episodic and yet still a story: “Talking about New York is talking about the world.”
To break your heart
The novel “The Underground Railroad” comes from an imagined misunderstanding, logical for anyone who grew up riding subways: that the path to freedom for enslaved people that we call The Underground Railroad was in fact underground. In Whitehead’s hands, that imagining takes us through both time and place while making visceral the horrors of enslavement. The book won the National Book Award and the Pulitzer Prize and was adapted by Barry Jenkins into a limited series.
In a rare feat, Whitehead won the Pulitzer Prize a second time for his novel “The Nickel Boys,” another work of historical fiction dealing with the devastating effects of American racism. Based on the true story of a reform school where Black boys went missing, the novel pairs the stories of two teens, one a troublemaker and the other caught up by mistake. Barack Obama called it “a necessary read.” Cleverly structured, it seemed difficult to adapt, but director RaMell Ross made it into a brilliant film.
To blow your mind
In Whitehead’s debut novel, the not-realistic “The Intuitionist,” a Black female elevator inspector faces powerful forces aligned against her. Inflected with Thomas Pynchon-like wordplay and situations, it’s both ambitious and funny. So is “John Henry Days,” mixing narrative forms while telling the story of a Black journalist around the year 2000 going to every press junket he can, unmaking the myth of John Henry all the while. And “Apex Hides the Hurt” is a comic novel about the conflicts that arise in a small town when they hire a name consultant for a possible rebranding.
To eat your mind
Just around the time they started staggering onto TV, Colson Whitehead published a zombie novel. “Zone One” is a smart take on the shuffling hordes and pandemic survivors who try to take Manhattan back.
To beat the odds
Whitehead, an enthusiastic amateur poker player, wrote the nonfiction book “The Noble Hustle” about his entry into the World Series of Poker in Las Vegas. It was a luxurious time in media, circa 2011, when ESPN’s Grantland paid his $10,000 entry fee and said he could keep his winnings. The book, expanded from what he wrote for them, includes his training, pending divorce, joking asides and playing for high stakes.
To take to the beach
“Sag Harbor,” set in the mostly Black, affluent beach community in the Hamptons, is the closest Whitehead has come to writing a coming-of-age story. Taking place during the summer of 1985, Benji and his teenage friends banter about culture and get their first taste of freedom.
When Washington celebrates the 250th anniversary of the Declaration of Independence on July 4th, the celebrations will arrive bruised. There will be the customary funding disputes, a federal commission fighting against a more partisan task force from the White House, and a public worn by years of political turmoil, all of which will turn what could have been an occasion of civic healing into another USA ‘celebration’ in the world. None of this has gone unnoticed in Beijing, given that this ‘celebration’ is being interpreted more as a diagnosis than a birthday. What is being asked throughout the commentaries from Qiushi (求是), on CCTV, in Tsinghua and Peking University, is simply put, what kind of America is turning 250?
Within the last five years, the interpretation given from both the official channels and the more informal academic channels in Beijing has varied considerably. Most importantly, these streams have been diverging for some time and therefore offer significant insight into how Beijing has been interpreting the country it has been comparing itself to for the last 20 years.
From “the East rising” to a measured retreat
Many are familiar with the upbeat version of the story. After 2020, the phrases that framed China’s worldview included “great changes, unseen in a century” (百年未有之大变局) and “the East is rising, the West is declining” (东升西降). The latter, used by Xi Jinping in remarks to senior officials in early 2021 and again in 2023, provided the slogan for the official narrative. The Covid-19 pandemic, the insurrection at the US Capitol, and a decade of US political instability seemed to provide the empirical evidence for a thesis, rooted in Chinese Marxist theory, that capitalist systems contain the principle of their own disintegration. This was rationalized and systemized after the 2008 financial crisis and has remained largely unchanged.
Stay ahead of the geopolitical week.
MD Briefing delivers expert analysis across five global fronts — the Indo-Pacific, energy, geoeconomics, European security, and the Middle East — every Monday morning. Free.
However, the reality is far more complicated than the slogan implies. Researchers who have traced the terminology in Chinese academic publications through the CNKI database have found that scholarly use of “the East is rising, the West is declining” (东升西降) peaked around 2021 and has subsided since then, even though the idea itself remained more prevalent than it was during the entire duration of Donald Trump’s first presidential term. In other words, the slogan was being diplomatically retracted within scholarly circles at the very moment it was most associated with official optimism. When Xi’s speech in 2023, which was published in Qiushi in January 2025, described the West’s decline, it was more a formal, official copy of a sentiment than a newly published speech.
The official rhetoric, however, did not soften. A Brookings study found a near doubling in the use of “American decline” terminology in official Chinese documents from 2025. State Security Minister Chen Yixin wrote in Qiushi in December of 2025, what could be described as a near complete inventory of the ills of the world: the usurpation of unipolar dominance gives way to economic decline and social disintegration, a domestic credit crisis and the collapse of foreign mythic structures. Around the same time, a popular phrase borrowed from gaming, the “kill line” (斩杀线) found its way to official Chinese publications. A Qiushi article from January 2026 described an America, the working class of which had been pushed (beyond the point of no return) along the path of ruin by an unrepairable (decomposing) industrial base while financial capitalism strangled the benefits. The conclusion that was drawn was that we had already entered the post-American world.
The correction of early 2026
Then the story changed once more, and the correction was from within Beijing’s own strategic community.
The consensus in Chinese policymaking following the Busan summit in October 2025, was that China had won the trade war and forced the US into a stalemate. The years of maximum pressure, they said, did not lead to the systemic concessions China had sought, but rather worsened American inflation and reduced productivity. For a few months, the optimism was high. However, by 2026, the optimism was replaced by apprehension. A series of adverse events for China, from losing equity in a German port buyout, to the Nexperia debacle, to the Iran war, led many to wonder if China’s victory was, in fact, a loss. The dominant question that the strategic community was debating was whether American power was in decline or if it was in fact, power rebounding.
What was most interesting was who took the cautious side. Both Chen Wenling and Yan Xuetong argued that the US had, and has, the military and economic capability to project power. In their view, the US had the edge, and Trump’s high stakes, risky policy decisions were based on the belief that the US had the dominant position. The gap was definitely closing, but was not yet a reality. The advice they gave was to be patient. If China was able to “manage its own affairs well,” it was likely that the US would be compelled to return to a more stable relationship.
The key observation regarding prominent intellectuals in Beijing is this. They have never been champions of the triumphalist position. Yan Xuetong has spent a great deal of time dismissing talks of “The East is rising and the West is declining” and multipolarity as delusional. His recently published book, Inflection of History (历史的拐点), which was published by CITIC Press in December of 2025, predicts a US-China bipolarity which, during the next decade, would be expected to stabilise rather than destabilise. In this scenario, over the next decade the gap in capability between the two powers would be expected to converge, although the US would retain an overall advantage. In this scenario, the US would retain overall dominance in services, cyberspace and global influence, while China would retain relative superiority in manufacturing and be dominant in the international arena. In this scenario, Yan does argue that Trump would be expected to damage American power, especially with regards to the international balance, through the closure of laboratories, the loss of researchers, and a declining international trade. However, damage to the leader of the bipolar order is not the same as the collapse of the order, and Yan is very cautious not to make confuse the two.
As China’s foremost authority on US studies, Wang Jisi (王缉思) of Peking University, has placed the greatest emphasis on the need for a clear and level-headed approach. His influential essay, titled, “Has America really declined? Chinese people should hold a sober understanding” ( 美国到底有没有衰落？中国人应有清醒认识), leads with the argument that the most important factors influencing the relationship are domestic political issues, and are not to be found in some quantifiable assessment of relative national strength, or within the confines of the Thucydides Trap. He has argued that the effects of Trump’s immigration restrictions would be more symbolic than real, and would not negatively impact the long-term potential of the US economy. Along with American scholar David Lampton, he wrote, that while both societies have convinced itself that the other is an existential threat, which is a dangerous narrative trap, similar to a noticeable shift of power.
Why AI keeps rewriting the script
If the quest for technological dominance was to be provided as a single reason for the inconsistency in the narrative, it would be the most accurate. The same confidence that characterized 2025 is the same that will characterize the sobriety of 2026. When Trump had his second inauguration in January 2025, DeepSeek had launched their R1. It disrupted the presumption of AI dominance in America and had a day effect of 200 billion on Nvidia’s valuation. For Chinese decision makers, since then, it has been electric. Carnegie researchers described it as the rediscovery of technological confidence. The effect was the realization of the theory of “The East is rising and the West is declining” (东升西降): a monumental achievement with controls on exports from a young lab in Hangzhou.
The second installment was more sobering. The launch of DeepSeek’s next model, V4, in April 2026, was received with indifference. In fact, DeepSeek’s own internal product documentation stated that V4 was between three and six months behind American models. Furthermore, V4 was reliant on domestic chips from Huawei, and was, in most assessments, dependent on American technology that was not easily replaceable. For Chinese analysts, this was not a case of falling behind, but one of the more difficult problems of maintaining the technological edge. Reshoring and tariffs told a similar story. The American industrial base, which the “kill line” (斩杀线) commentary presumed was a terminally stagnated industrial base, was the target of a renewed, aggressive, and partially successful push to bring industry back to America. A competitor with such a focus on rejuvenation and renewal is not, on the surface, a declining competitor.
The G2 Puzzle
There’s another element coming from Washington that adds to the complexity of the story of American decline. This element relates to Trump. Before the Busan meeting, Trump used the term “G2,” and several Washington officials followed suit. The decline thesis cannot account for this. If America is indeed in decline, why is it offering G2 (shared leadership) with China?
Chinese reflexive responses are interesting. The official position, as expressed in Zhou Li’s (周力) December 2025 article, is that G2 as a hegemony is incompatible with China’s commitment to a multipolar world and would alienate the Global South which China is trying to court. These scholars have found their own workarounds. Yan Xuetong and Zheng Yongnian have suggested that G2 is more a description of a scenario of existing bipolarity than a policy to adopt. Xia Liping of Tongji University has suggested that G2 be rephrased as “China-US coordination” (中美协调) instead of “China-US co-governance” (中美共治), which makes it easier for Beijing to accept peer status while not succumbing to a duopoly. The attempt to manage the terminology suggests that the US at 250 is still sufficiently powerful that its offer of co-leadership is significant, even to a China that is more confident than ever.
A mirror, not a verdict
What emerges from five years of this commentary is not a single Chinese view of America at 250 but a layered one. The loudest polemical phrase is that the US, a hegemon, is in an irreversible decline. Within a Chinese context, this serves a purpose unrelated to the US. The state media have found it convenient to juxtapose gun violence and homelessness against the backdrop of Chinese economic performance. The decline of the US economy flouts the-premise, as socialism is the ultimate victor among capitalist competition.
But that was in the loud tier. In the reserved tier, the people in Beijing who are actually relying on reading Washington have converged on a more cautious and, frankly, more accurate assessment. They have described America as a relative decline, but erratic, and still very formidable as well as technologically advanced, especially in the field of the upcoming and new challenges of competition. The assessments have consistently referred to America as “declining but dangerous,” and this phrase has proven to be the most accurate of the lot. Reality has justified the phrase. The same cannot be said of unqualified and total victory.
The inconsistency in narratives can be attributed to the fact that the accounts are serving two purposes simultaneously. They are both analysis and propaganda, and the two types of work are at odds with each other. After AI successes or trade wins, the propaganda is ahead of analysis. After the impacts of reshoring or when a Chinese model stays behind, the analysts bring it back. The occasion is provided by the anniversary, but the underlying reason is that China has not decided, and maybe cannot decide, if they think that simply waiting will work in their favour or if the gap they have slowly been closing over the past 25 years is going to be a stubborn gap.
At 250, in other words, the United States functions in Chinese discourse less as a subject to be judged than as a mirror. What Beijing sees in it, in any given month, tells you a great deal about how confident Beijing is feeling about itself
This article contains many spoilers for “Heartstopper Forever.”
In the early minutes of “Heartstopper Forever” — the feature film finale of Netflix’s hit teen romantic dramedy series — Charlie Spring (Joe Locke) notices a crooked photo strip on his boyfriend Nick Nelson’s (Kit Connor) bedroom wall. Gently pulling down the pictures, taken on the beach day they made their relationship official, Charlie smiles wistfully at their younger selves: “We look like babies.”
It’s a line that applies to the characters as much as it does to Locke and Connor. Four years after being catapulted into global stardom, the pair are bidding a bittersweet farewell to the roles that have defined their own coming of age.
“Season 1 does feel like an immensely long time ago that I do look back and think, ‘Yeah, we do look like babies,’” Connor says, with Locke nodding in agreement next to him on a recent video call from London. “‘Heartstopper’ itself was this tiny little show that was clearly something quite special to us, but we didn’t really think or know anyone was going to watch. And, suddenly, it became this thing that was immensely important to a lot of people.”
Adapted by Alice Oseman from her own bestselling graphic novels, which originated as a webcomic in 2016, “Heartstopper” chronicles the endearing love story between high-strung, gay overthinker Charlie and kind-hearted, bisexual rugby player Nick at an all-boys’ school in England.
Nick (Kit Connor) and Charlie (Joe Locke) in a scene from Season 1 of “Heartstopper.”
(Netflix)
Upon its debut in 2022, the show was lauded for its unabashedly joyful, tender portrayal of queer youth — a refreshing departure from the trauma-heavy narratives that dominate other teen dramas. Even as “Heartstopper” ventured into darker thematic territory, such as Charlie’s history of eating disorders and struggles with self-harm, Oseman’s writing never lost its deft, light touch.
From the outset, Oseman knew she wanted to end “Heartstopper” with Nick going off to university in Leeds and Charlie, who is a year younger, finding independence as head boy at school. But with her cast growing increasingly more in demand every year, the author-turned-screenwriter says it would have been logistically difficult to make a fourth and final season.
After Netflix greenlit a two-hour finale instead, Oseman elected to zero in on her protagonists — not unlike her comics — rather than give each character their own, heavily condensed arc. “I think that was definitely the right decision, because we really get to spend a lot of time with Nick and Charlie and not feel like we’re missing anything,” she says.
Directed by Wash Westmoreland (“Colette,” “Still Alice”), “Forever” finds the first loves grappling with the reality of an impending long-distance relationship, leading to a rash breakup and, ultimately, an emotional reconciliation. In a surprising role reversal, as Charlie confidently steps into a leadership role as an advocate for other LGBTQ+ students, Nick is left to discover his own identity and self-worth outside of being the protective, supportive boyfriend.
On the set of “Heartstopper Forever” as Connor and Locke film a scene from the movie.
(Samuel Dore / Netflix)
Connor, who also executive produced the film with Locke, felt Charlie and Nick’s romance would be better wrapped up in a feature-length format. “There were a few very important and crucial, but short and intense [plot points] — the breakup and the time apart, and the eventual makeup and the two of them discovering who they are without one another,” he explains. “Doing it in a shorter period, I thought, would make those things hit that much harder and feel that much more visceral.”
Unlike previous seasons in which she could rely on her existing comics as storyboards for the show, Oseman was working simultaneously last year on the sixth and final volume of the “Heartstopper” comics, released earlier this month, and the “Forever” screenplay.
Juggling the same story in two different formats turned out to benefit each end product. “When I finished writing the first draft of the script, it actually made me do a really big rewrite of the comic, because it helped me see which moments were really important and which moments didn’t need to be there,” she says. (One of the pivotal scenes was the Pride parade, filmed on the last morning of production.)
As first-time producers, Locke and Connor also provided script notes that directly influenced the story. For instance, “there was no scene between Charlie and Mr. Ajayi in the original script,” says Locke, referring to the gay art teacher, played by Fisayo Akinade, whose classroom became Charlie’s safe haven from bullying before he befriended Nick. “I was like, ‘That scene in Season 1 with them is so pivotal to the story. It would be really lovely to have just a little moment for them in the film that circles on that chapter of their relationship.’ And straight away, Alice was like, ‘Yeah, great idea. Let’s do this.’”
For his part, Connor always feared that the show’s “rose-tinted” approach, though part of the story’s appeal, “would not be nuanced enough to talk about the complexities of being human and being young.”
Locke says he proposed a scene with Fisayo Akinade, who plays art teacher Mr. Ajayi, as a way to circle back on their relationship.
(Netflix)
“There was one moment where I was like, ‘Oh God, I hope these young people watching “Heartstopper” don’t suddenly forget that these kids are human, and that these kids can make mistakes and still be lovely, delightful and good people,’” Connor says. With Oseman and Locke, Connor was adamant about “finding the place [where] these characters were being treated in a way that we all felt good about.”
According to Oseman, Locke and Connor were also heavily involved in selecting a new intimacy coordinator, Robbie Taylor Hunt. Over the years, the amount of sex — or lack thereof — in “Heartstopper” has been the subject of much discourse. “It always annoyed me slightly that people were like, ‘Oh, this is so unrealistic. They’re not having sex.’ They were underage. What do you want us to do?” Locke says with a wry laugh.
Oseman has learned to tune out that online chatter, accepting that she cannot please everyone — let alone represent the entire spectrum of the young queer experience. With each season and now this film, her creative team chose to age up the story slightly. After Charlie and Nick lost their virginity to each other at the end of Season 3, the film uses physical intimacy to reveal more about their maturing relationship.
Locke says those scenes were necessary to the plot. “The pier sex scene is this carnal lust between these two people who need to get it out. The sex scene in the pillow fort is a moment of connection for them,” he says. “And the big sex scene at the end of the film is the reconciliation of their relationship.”
In the end, Nick and Charlie decide to give their relationship another shot, confident that their love can defy the conventional wisdom that teen romances rarely last. But what they learn during their split is “that you can’t put all of your hopes and dreams, your mental health and your ability to survive into one person, because it’s not fair on yourself and on that other person,” Connor says.
Over the years, the amount of sex, or lack of it, in “Heartstopper” has been the subject of online discourse. The film shows more physical intimacy.
(Netflix)
The film’s epilogue, like in the comics, offers a brief glimpse of Charlie visiting Nick for a weekend in Leeds, ending with the two of them looking through the pages of a scrapbook that still has room for new photos. While Oseman has her own vision of Nick and Charlie’s future in 10 years — they’d be newly married with a dog, she believes — the actors who play them aren’t so sure.
“I feel like the beauty of ‘Heartstopper’ is that we get to see a chapter of these two young men’s lives, and it ends in a way that doesn’t promise anything,” Connor says. “Even if they were to not end up together eventually, it wouldn’t make the experience that they shared together any less special or pivotal to who they are as people. I think that’s kind of beautiful.”
Locke is reluctant to divulge his own interpretation of the characters’ future, preferring instead to let viewers make sense of the hopeful ending. “I hope they’re happy,” he says simply. (But for the record, the actors both believe that Charlie and Nick will stay together. “Of course, we all hope so,” Connor clarifies.)
Although she is ready to tell new stories, Oseman believes that she will be revisiting Nick and Charlie, who first appeared in her 2014 debut novel “Solitaire,” “in small ways for the rest of my life.”
“I think there definitely won’t be another 10-year-long webcomic — probably not — but I love thinking about what Nick and Charlie might be up to when they’re 40 or 60,” Oseman says. However, she adds, “I think the main story of ‘Heartstopper’ has concluded, and I do feel good about that.”
Like their high school characters, Locke and Connor are ready to graduate from the “Heartstopper” universe. Wary of being typecast, they have established themselves as versatile stage actors, making their Broadway debuts in “Sweeney Todd” and “Romeo + Juliet,” respectively. Onscreen, Locke joined the Marvel universe in “Agatha All Along,” while Connor has explored vastly different cinematic genres — his next major project, the film adaptation of the dark fantasy video game “Elden Ring,” will reunite him with “Warfare” director Alex Garland.
Even on the day of our interview, Connor and Locke looked a world away from Nick and Charlie. Locke wore an all-black designer outfit, while Connor — dressed in a light blue striped button-down over a white tank and khakis — had traded Nick’s signature floppy hair for designer stubble. Yet both actors have made peace with the reality that they will forever be linked to each other and their roles. “That’s part and parcel of the job,” Connor says.
Fittingly, the last scene Connor and Locke filmed as Nick and Charlie was the anniversary scene in the park where there is a fallen tree with the letters “N+C” carved into the trunk. “It was lovely because it was back to how a lot of the ‘Heartstopper’ experience has been, which is just me and Joe,” Connor says.
“I love thinking about what Nick and Charlie might be up to when they’re 40 or 60,” says creator Alice Oseman. However, she adds, “I think the main story of ‘Heartstopper’ has concluded, and I do feel good about that.”
(Netflix)
Would they be open to revisiting Charlie and Nick’s love story as older adults? “In 10, 15, 20 years, who knows? Maybe,” Connor says. “Even if Alice were to decide that they wanted to make a TV show about another character in the universe of ‘Heartstopper’ and they wanted us to cameo or something, then, hey, maybe.”
While the “Heartstopper” team expected the series to resonate with younger audiences, they have been particularly moved by the reactions of older queer viewers, who have marveled at the strides in LGBTQ+ representation onscreen. Coming from the world of young-adult fiction — where she notes stories of queer joy are abundant — Oseman recalls being surprised that “Heartstopper” was treated as an anomaly in mainstream media. Still, she is proud to have helped move the needle on LGBTQ+ representation, particularly when such characters remain underrepresented.
“My hope is that people will be able to look back … and say, ‘Hey, “Heartstopper” did really well. Let’s make another queer show that’s got the [same] ‘queer joy’ vibes,’” Oseman says. “I hope it’s been able to give that encouragement to the people in power to let there be more stories out there because we just need more, different kinds of queer stories.”
Connor believes that anyone can enjoy the show because “Heartstopper” simply captures the universality of “human beings being happy and being in love.”
“Obviously, the [queer] representation is incredibly important. I think that the very existence of the show and the comfort and safety that it can bring people is one of the things that makes it so special,” Connor says. And the demand for such stories “isn’t going to change,” he adds. “Queer people are always going to exist.”
On Monday, more than 40 fake trophies were stacked at the base of a 10-foot-tall “Iran War Participation Trophy” made for President Trump and placed on the National Mall by the anonymous satirical activist group Secret Handshake.
The new participation trophy is equipped with a plaque that reads:
“We hereby award President Donald J. Trump this participation trophy for his enthusiastic involvement in the Iran War. While some concern themselves with military strategy, diplomacy, or measurable outcomes, President Trump demonstrated the courage to participate regardless of the final score.
As recipient of this prestigious award, President Trump joins the ranks of children everywhere who receive recognition for simply showing up. We join you in celebrating this remarkable achievement.”
Secret Handshake noted in a letter to The Times that the installation serves as the nation’s first official “Donald Trump Trophy Donation Center, encouraging the public to drop off their own personal trophies, medals, and ribbons at the base of the monument for The President to claim as his own. Together, we hope that if enough trophies are donated he will be perceived as a winner and not feel the need to bomb other countries.”
A representative for Secret Handshake said the dozens of donated awards include certificates, trophies, medals, a wrestling belt and a Kennedy Center sash.
“I’m really thrilled to see people taking an active interest in joining in and bringing their own creativity and having their own voice heard by adding trophies to the base of this instillation,” the representative wrote in an email. “I think it’s exciting and I think when people can take a moment to tangibly express their opinion about this government’s war it helps to create a reminder that we aren’t alone. This isn’t normal. This shouldn’t just be accepted at face value.”
One of the best offerings is titled, “First Place in ‘I Know a Pool guy,’” and reads in part, “Participation trophy for Donald Trump in recognition of his renovation of the nation’s historic reflecting pool to more clearly reflect his efforts to criminalize the touching of a public monument in order to cover up the damage he caused …” The award also recognizes Trump’s “development of American Flag Blue pool liner, which he said was indestructible (unless cut by left wing radical terrorist vandals).”
Secret Handshake has extended an offer to “hand deliver both the participation trophy and all smaller trophies to the Trump Administration for The President’s glowing collection of fake accolades.”
I’m Arts editor Jessica Gelt taking First Place in time wasted mulching my garden in the heat. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings of L.A.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
“Etai & Felipe Pantone: Parallel Practices: Tailored Structures & Kinetic Surfaces” at albertz benda.
Etai & Felipe Pantone “Parallel Practices: Tailored Structures & Kinetic Surfaces” combines Pantone’s wall-based artworks and a series of collaborative design pieces to challenge ideas of use, intimacy and lived experience, placing each work in the interconnected artistic system. Opening, 6:30–9:30 p.m. Friday; exhibit continues through Aug. 8. albertz benda, 8260 Marmont Ln. albertzbenda.com
New Swan Shakespeare Festival The Bard is back in the O.C. at the troupe’s open-air, Elizabethan-style portable theater with “The Merry Wives of Windsor Cove,” a musical adaptation set in a 1950s SoCal beach town, in repertory with “Romeo & Juliet,” the classic tragedy reimagined amid the scarcity of the Dust Bowl. “Merry Wives,” 8 p.m. Friday, Saturday, Thursday and various dates through Aug. 30; “Romeo,” 8 p.m. Sunday, Wednesday and various dates through Aug. 29. New Swan Shakespeare Festival, Inner Ring Road, UC Irvine. newswanshakespeare.com/
SATURDAY
“Cyrano” at the Old Globe, San Diego.
(Ben Wiseman)
Cyrano An irreverent take on “Cyrano de Bergerac” by Edmond Rostand, adapted by Jason O’Connell and Brenda Withers, directed by Annie Tippe. Previews, 8 p.m. Saturday; 7 p.m. Sunday, Tuesday and Wednesday; opening night, Thursday, 7 p.m.; continues through Aug. 9. The Old Globe, 1363 Old Globe Way in Balboa Park, San Diego. TheOldGlobe.org
F**king Strangers The world premiere of a dark comedy about love and loneliness by Erik Patterson, directed by Chris Fields. Previews, 8 p.m. Friday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 24. Echo Theater Company, Atwater Village Theater, 3269 Casitas Ave. echotheatercompany.com
Yoko Ono’s ‘Sky Piece to Jesus Christ’ + ‘Cut Piece’ A six-piece classical music ensemble from the Los Angeles Chamber Orchestra will be gradually wrapped in gauze until the musicians can no longer play their instruments in “Sky Piece,” first presented to the public by Ono at Carnegie Recital Hall in New York in 1965. In “Cut Piece,” performed by artist MPA, the audience will be invited to cut away pieces of the artist’s clothing to take with them while the artist sits silently onstage. The performance was premiered by Ono at Yamaichi Hall in Kyoto in 1964. 6 p.m. Saturday; 2 p.m. Sunday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Marvelous Musicals Professional and student dancers perform numbers from classic shows to modern favorites. 6:30 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org
Koak, “Portrait of Myself, the Shell,” 2024. Flashe and acrylic on linen; diptych. 74 x 118 inches
(Photo by Chris Grunder. Courtesy of the artist and Perrotin.)
Summerlove Sensation A group show featuring Isabelle Albuquerque, Alex Anderson, Mustafa Ali Clayton, Gregor Hildebrandt, Susumu Kamijo, Rae Klein, Koak, Asuka Anastacia Ogawa, Katherina Olschbaur, Jean-Michel Othoniel, Andrew J. Park, Gahee Park, Aya Takano, Honor Titus and Pilar Zeta. Opening, 6-9 p.m. Saturday; exhibition continues through Aug. 28. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com
A Weekend With Robert Rodriguez The multi-hyphenate filmmaker will be on hand for anniversary screenings of “From Dusk Til Dawn” (1996) and “Spy Kids”(2001) with the filmmaker in person and performing with his musical groups, Chingon Band and The Rodriguez Family Spy Band. “From Dusk,” 7 p.m. Saturday. “Spy Kids.” 2 p.m. Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SUNDAY
Tensions, Personified Readings of four short plays by John Binder are presented as part of the Odyssey’s Thresholds of Invention series. 4 p.m. Odyssey Ensemble Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com
TUESDAY
Ann Noble, left, and Robin McDonald in “Dead Man.”
(Carolina Rodriguez)
Dead Man Ann Noble writes, directs and performs in this clown noir murder mystery co-produced by Theatre Ghosts. Co-starring Christian Haines, Jeffrey Johnson and Robin McDonald. 8 p.m. Tuesdays, through Aug. 4. Echo Theater Company at Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com
UCBackrooms A one-night-only immersive, participatory comedy experience turns the Upright Citizens Brigade Theatre into an escape room. Shows begin every 15 mins., 6-7:30 p.m. Upright Citizens Brigade Theatre, 5919 Franklin Ave. ucbcomedy.com
THURSDAY
Falsettos The O.C. theater company The Wayward Artist presents William Finn and James Lapine’s Tony Award-winning, sung-through musical set in 1979 and 1981 about a Jewish man who leaves his wife and son for his male lover, and the ensuing upheaval to their lives. 8 p.m. Thursday, July 24-26 and July 30-Aug. 2. Irvine United Congregational Church, 4915 Alton Pkwy. thewaywardartist.org
Arts anywhere
Jason Huber, from left, Scott G. Jackson and Dana Dewes in “The Price” at Pacific Resident Theatre.
(Ian Cardamone)
The Price The critically acclaimed production of the Arthur Miller drama at Pacific Resident Theater closes this weekend. “‘The Price,’ directed by Elina de Santos, thrives in the intimacy of Pacific Resident Theatre’s main stage,” wrote Times theater critic Charles McNulty when he reviewed it in April. “There’s not a moment in the play that isn’t deeply inhabited by a cast that understands the value of listening.” But don’t worry if you are unable to make it to the Westside. The final two shows will be available from the League of Live Stream Theater for $35, which includes a 24-hour on-demand replay. 2 p.m. Saturday; 3 p.m Sunday. Pacific Resident Theatre, 703 Venice Blvd., Venice; streaming at lolst.org/theprice
— Kevin Crust
Culture news and the SoCal scene
Miller Friedman, Ashley Maimes, Jonathan Blandino and Torianna Turnbow in Shakespeare’s “A Midsummer Night’s Dream” at Will Geer’s Theatricum Botanicum.
(Ian Flanders)
Summer is the ideal time to see theater out of doors (well, maybe not this broiling week, but at other times), and Times theater critic Charles McNulty has compiled this breezy list of “11 enchanting places to see outdoor theater in Southern California.” Spoiler alert: Shakespeare is well-represented, but remember, the Bard’s work was originally staged in an open-air theater.
McNulty also headed to Pasadena Playhouse for the opening of the two-person hip-hop musical “Mexodus,” which tells the little-known story of an Underground Railroad route to Mexico. McNulty was taken with the show, which arrived at the Playhouse after its award-winning off-Broadway run, calling it “hands down the most charming, innovative and warmly embracing new musical I’ve seen in the last year.”
Artist Betye Saar is photographed at her home in Laurel Canyon on Tuesday, June 30, 2026.
(Christina House/Los Angeles Times)
Betye Saar turns 100 on July 30, but the famed artist is still more interested in creating new work than discussing her groundbreaking legacy. Times contributor Tara Anne Dalbow wrote this lovely profile of Saar after a visit to her vibrant home studio in Laurel Canyon. “There are certain people who redefined what was a very narrow definition of American art, and Betye is absolutely one of them,” curator Zoé Whitley told Dalbow.
Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of California State University Northridge.
(The Soraya)
If you’re interested in buying single tickets to shows that are part of the Soraya’s upcoming season, now is the time. The venue just opened up its access from membership presale to the general public. Sutton Foster, Dance Theatre of Harlem and Audra McDonald are all making their Soraya debuts, as is the Los Angeles Philharmonic.
Dodgers left-hander Justin Wrobleski could have been content with his performance the first couple of months this season. After all, he’d come into the year fighting for a rotation spot, and he’d shown in that time that he was ready to be a full-time major-league starter.
That wasn’t enough.
While still holding on to his identity as a pitcher who goes right at hitters, Wrobleski tallied 20 strikeouts over his last two starts of the first half.
“We’re just doing a good job with the plan,” Wrobleski said last week, days before he was named a first-time All-Star. “I feel like I’m continuing to get better at knowing where to go with two strikes, knowing where to go versus a certain hitter with two strikes and just kind of reading the game.”
Wrobleski is the only Dodgers pitcher set to appear in Tuesday’s All-Star Game in Philadelphia. Yoshinobu Yamamoto and Shohei Ohtani pitched too close to the game, and Ohtani eventually pulled out of All-Star activities altogether in order to have his left knee drained on Sunday.
The story of how Wrobleski got there, in his first full season in the rotation after debuting two years ago, includes plenty of twists and turns.
“It’s a chronicle story in his young career, the down to up, but at the end of the day, he’s been a rock for us these first three months,” Dodgers pitching coach Mark Prior said in a conversation with The Times. “Was hoping he got in on the first set of announcements, but at the end of the day, he’s an All-Star, and he’s earned every bit of it.”
When Wrobleski wasn’t included on the initial National League All-Star roster, the Dodgers coaching staff went to work lobbying for him to be a replacement player. Manager Dave Roberts publicly made the case for Wrobleski and closer Tanner Scott whenever he had the chance.
Then, a week later, Wrobleski (10-2, 2.69 ERA) got the call after Cincinnati Reds right-hander Chase Burns bowed out because of tightness in his groin.
“He’s done so many intangible things that I think get lost in the shuffle of numbers and metrics,” Prior said of Wrobleski. “But he’s eaten innings, he’s provided length for us when we needed length. He went toe-to-toe with [Phillies three-time All-Star Zack] Wheeler. He went toe-to-toe with [José] Soriano when he was dealing with the Angels, kept us in ballgames.”
Admittedly, a year and a half ago, Prior wouldn’t have imagined Wrobleski would be an obvious All-Star pick this quickly.
The tipping point came when Wrobleski surrendered eight runs to the Washington Nationals in his first start last season. And it didn’t help that his last start of the previous season was a 10-run slog against the Arizona Diamondbacks.
“It was a long, raw, emotional sit-down with him,” Prior said. He said after the conversation with Roberts, assistant pitching coach Connor McGuiness and the rest of the staff, “we left with like, ‘Which way is this going to go?’”
But persistence has been a hallmark of Wrobleski’s career, dating to his college years, when he infamously bounced back from a car hitting him on a scooter and a baseball breaking his jaw. He also underwent Tommy John surgery two months before the Dodgers selected him in the 11th round of the 2021 MLB draft.
So, committing to a delivery change last season wasn’t all that intimidating.
Wrobleski returned to the majors in mostly a bullpen role. And his steadiness in those shorter outings culminated in a strong postseason run that included four scoreless appearances in the World Series.
“We talk about, who can you depend on to not let the moment get too big?” Prior said. “And I think Wrobo had proved that all the way through September, but clearly proved that the moment is not too big for him to continue to make pitches. And that was exciting to see too as a staff.”
Still, Wrobleski wasn’t guaranteed a rotation role this season. And Prior was frank about that over the offseason.
Wrobleski’s first outing of the season was in relief, but the Dodgers had earmarked him as their sixth starter for the second turn in the rotation.
In his first five starts, Wrobleski posted an eye-popping 0.56 earned-run average.
His swing-and-miss rate and strikeouts were down, but pitching to soft contact was getting him positive results. The most glaring example came against the St. Louis Cardinals in early May, when he threw six shutout innings without recording a punchout.
Dodgers left-hander Justin Wrobleski recorded 20 strikeouts in his last two starts before the All-Star Game.
(Eric Thayer / Los Angeles Times)
Wrobleski wasn’t going to coast on that early success, however. He kept fine-tuning his delivery and adjusting his pitch mix, right through a rough patch in late May and into a consistent June.
“He went from paring down his arsenal to kind of two pitches, to regrow his arsenal while he’s learning how to pitch at this level,” Prior said. “I think the big thing is now these guys have different looks.”
Wrobleski’s four-seam fastball and slider have done the heavy lifting. The rest of his secondary pitch mix has been a moving target.
He and the pitching coaches have talked through the most effective use of his curveball. He started integrating his sinker more consistently in late April, especially against left-handed hitters. He’s tinkered with different grips for his change-up, a pitch he started using more in mid-May. Three weeks ago, he introduced a sweeper. And in his last two starts, he threw that pitch 19 times.
“At the heart of it, though, is he never lets off the gas pedal,” Prior said. “He just gets the ball, he’s on the rubber, he puts the hitter on defense from the get-go before they’ve even seen a pitch. And that’s something that not everybody can do.”
So, despite the journey, when Wrobleski looks back at the pitcher he was a year and a half ago, he doesn’t see a complete overhaul.
“Same guy but different, I guess,” he said. “It’s crazy. I’ve had to go through a lot of small tweaks and changes. And it’s just all been about just having belief that I could continue to do it. And I knew that there were a lot of things that I could do just to get better, and I wasn’t as far away as maybe it seemed on the outside — or, as people thought it was.
“I felt like I was close that whole time, even though the results weren’t really there. It’s been cool to see the results come.”
The story of Dan Tana’s, in many ways, is the story of Los Angeles.
In 1980, Dan Tana’s burst into flames. At the time, the Tana family was vacationing on a remote Yugoslav island when a telegram arrived: “The restaurant burned down. Call me, Pearl,” recalls Katerina Tana, one of Dan Tana’s daughters.
On the Shelf
Everybody Came to Tana’s: An American Dream Come True
By Dan Tana Radius Book Group: 384 pages, $30
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
Dan Tana flew back to Los Angeles, expecting charred remains. Instead, he found handwritten signs taped to the restaurant’s door: “Rebuild it. This is our home. Don’t change a thing,” recounts Katerina.
News of the fire reached musician Linda Ronstadt, who swore that Dan Tana’s served the best plate of spaghetti in the world. The rock star became the immigrant-run restaurant’s unlikely patron saint, calling on her relationship with then-Gov. Jerry Brown to help clear the way for its reopening. Just six weeks after the fire, Dan Tana’s welcomed customers again, even without a roof.
“They open up the restaurant with no roof on it. There’s no air conditioning unit. It was the hottest day,” says Katerina.
Oddly, the fire ushered in a new era for Dan Tana’s — a rebirth, even. Like Los Angeles, the restaurant endured by reinventing itself. “In a weird way, he rebuilt better than he ever could have, because if the restaurant hadn’t burned down, it might not have lasted this long,” Katerina says.
Stories like these fill the pages of “Everybody Came to Tana’s,” the late restaurateur’s memoir, which chronicles the outlandish journey that carried a young immigrant from communist then-Yugoslavia to the helm of one of Los Angeles’ most adored dining institutions. Dan Tana died last year at age 90, but his legacy lives on — inside the restaurant and now in his own words.
On a summer afternoon, his daughters, Gabrielle and Katerina, sit at the Sunset Marquis bar, recounting their father’s remarkable life — particularly his championing of soccer and his contributions to the sport. With the World Cup now unfolding across Los Angeles, the sisters say they can’t help but feel his presence. “One of his big wishes was to be here for this year’s World Cup. That’s why I know he’s here,” Gabrielle Tana says. “He was very instrumental in L.A. getting the World Cup. Our father was constantly helping connect people,” says Katerina.
In the final years of his life, Tana became determined to tell that story, working with writers in Serbia and eventually a ghostwriter, Todd Gold, who requested no credit; the resulting memoir feels wholly told in Tana’s voice. “Our father, for years, was talking about how he wanted to tell his story,” says Gabrielle. “He was always pinching himself about the life that he had — the stories, the adventures, and his luck.”
Tana had an unusual path to becoming the restaurant owner of the renowned Hollywood red-sauce hideout. Born in present-day Serbia, Tana’s early life was marked by political oppression under Communist rule. His father, a restaurateur, spent years as a political prisoner.
Gabrielle and Katerina Tana with their dad at Dan Tana’s, circa 2001.
(Suzette Van Bylevelt)
“When you live in a country where political powers are constantly in play, when you own a restaurant, you’re the person who’s hosting somebody who’s having a dangerous conversation,” explains Katerina. From an early age, Dan Tana’s mother made Dan promise not to end up in the restaurant business.
Instead, Dan Tana became a soccer star, touring Europe with Red Star Belgrade before eventually escaping to Belgium — a decision that would set him on the unbelievable path to Canada and then Los Angeles, where he would serve a stint managing a nightclub called Peppermint West and even launch a modest acting career with the help of Natalie Wood.
The chapters follow the restaurant’s improbable success, offering extraordinary anecdotes, such as how a Yugoslavian immigrant happened to open a red-booth, comfort-food Italian restaurant. The answer? Hiring Mussolini’s private chef. “It was one of two chef options that he was given by his partners: Dan Reeves and Clarence Dan Martin, who funded the soccer league. [Dan Reeves] also bought the restaurant,” says Katerina.
Beyond dispatches from his red-and-white-checkered tablecloth joint and name-dropping, Dan Tana’s memoir outlines his significant contributions to soccer. Throughout his life, he maintained deep ties to the international soccer community, supporting Red Star Belgrade long after he retired from the sport. “He became an evangelist for the game because he thought it was a game that this country would appreciate,” says Katerina. “Football was always the biggest love of his life.”
Craig Susser, left in black, has been greeting patrons at Dan Tana’s for decades.
(Stephen Osman / Los Angeles Times)
Last November, when England faced off with Serbia for the World Cup qualifying games, the stadium held a moment of silence for Dan Tana’s passing. “There were people within the game who really wanted to acknowledge his contribution to the game,” says Katerina.
“A good restaurant has a good bar, and a good bar has ghosts,” reads the introduction. For Dan Tana’s, as far as ghosts go, they comprise a who’s who of Hollywood royalty. Johnny Carson once called it his favorite restaurant. Elizabeth Taylor, Richard Burton, Marilyn Monroe and other A-list stars were known to haunt the bar.
Even with its reputation as a watering hole for Hollywood’s biggest names, Dan Tana refused to pander to celebrities. “Everybody was treated the same. He never wanted the restaurant to be full of celebrities. He wanted to make sure that there were doctors, lawyers and teachers,” Gabrielle says. “He was almost a democratic socialist in that way.”
A revealing anecdote from the early pages of the book: Tana turned away Barbara Sinatra’s offer to buy out the restaurant for a night for Frank Sinatra’s birthday at $25,000. Tana refused. It wouldn’t be fair to his regulars. Frank Sinatra never set foot in the restaurant again.
Sonja Perencevic and Dan Tana attend the restaurant’s 50th anniversary party in Los Angeles in 2014.
(Alberto E. Rodriguez / Getty Images)
In many ways, Tana was one of Hollywood’s quiet power brokers, earning influence through humility and respect rather than status. In 1972, mysterious mafia members came into the restaurant to ask Tana to procure early-screening tickets for “The Godfather.” Naturally, Tana obliged. The mafia returned to report they loved the now-classic film.
The proximity to the Troubadour also made the restaurant a hangout for up-and-coming names in rock music. “He fed so many of those musicians. He wouldn’t charge them. These were kids that had nothing,” says Gabrielle. She recounts a night when musicians from the Troubadour celebrated the end of the Vietnam War at Dan Tana’s; the event went undocumented, lost to history.
Rock stars aside, the place is a writer’s joint too. Eve Babitz — who was a close friend of 93-year-old Deanne Mencher, who still makes the cheesecakes at Dan Tana’s — was known for socializing at the restaurant. “If you got hungry, you had to walk over to Dan Tana’s. Tana’s was delicious and evil — all that garlic,” Babitz once wrote in her semi-autobiographical novel, “L.A. Woman.” Screenwriters, journalists and famed L.A. writers Joan Didion and John Gregory Dunne were also known to frequent the restaurant.
In fact, Gabrielle and Katerina attribute the restaurant’s early colossal success to a Los Angeles Times review. It was 1966, and the restaurant was struggling. Art Ryon, a columnist at The Times, happened to stop at the restaurant before a screening at the Writers Guild of America and ordered mushrooms. “The L.A. Times made the restaurant,” Katerina says. “The next day there’s a line around the block, and my father has no idea what happened.” Tana was informed that he received a rave five-star review in The Times. Success soon followed.
Chicken Parmesan from Dan Tana’s.
(Jakob Layman)
The next generation of Hollywood — including comedy stars like Adam Sandler, Ben Stiller and Chris Rock — has continued the tradition. “SNL” cast member James Austin Johnson expresses his fondness for the restaurant. He discovered the restaurant after hearing Ed Begley Jr. rhapsodize about it. “The first intrigue is finding out who Dan Tana is,” says Johnson. “It has a West Hollywood mystique, like Chateau Marmont — like when Hollywood, the place and the business were all the same.”
Johnson loves restaurants that feel preserved in time. “It’s the idea that you can build something right the first time and then preserve it, so that people can be a part of your good idea when it happens,” says Austin Johnson.
Gabrielle and Katerina credit the enduring appeal of Dan Tana’s to its persistent lack of pretentiousness. The atmosphere evokes a Sinatra-era simplicity. “I think celebrities felt safe. They weren’t photographed, and they would be left alone,” says Gabrielle. The restaurant has kept its dim pink lights, which Gabrielle notes, “made everybody look good.”
The food has also remained consistent, with large portions and comfort food. “It’s not fancy, but it’s the best chicken Parmesan,” says Gabrielle. Over the decades, Dan Tana was approached about expanding the restaurant and opening second locations. He always refused, the restaurant’s humility always mirroring the man behind it. The restaurant, which felt like an anomaly, could not be replicated. “He always said: if I knew what I did right, I would do it again,” says Katerina.
Dan Tana’s originality continues to capture the city’s attention, its legacy now preserved in a memoir and carried on by its new owners, Mihajlo and Sonja Perenčević, who were friends of Dan Tana. Within its pages, the reader becomes one of Dan Tana’s beloved ghosts. “In a town that’s always trying to be something that’s not, it’s not trying to be anything,” says Katerina. “Dan Tana’s is longevity in the midst of ephemera.”
Connors is a culture journalist in L.A. She covers books, food, entertainment and offbeat Los Angeles. She’s currently at work on a book of essays about tourism in all its forms.
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
“Writers are always selling somebody out,” Joan Didion once wrote. She was talking about journalists, but it can be just as true of novelists. Whether the genre is romantasy or autofiction, making up stories often demands making up stories about real people — exploiting them — to serve a narrative purpose.
Cali Adeline’s debut novel, “People Watching in the Desert,” gives this thorny ethical business an impressively complex treatment for a book that comes on like a beach read. Sonny, its hero, has checked into Sanctuary, a spendy Phoenix-area resort, for an extended stay. She’s 25 and unemployed, and it’s unclear at first how she acquired the funds to splurge on an on-site cottage with a pool, 90-minute massages, and various forced-fun adventures. It’s also unclear why she chose a five-star resort for the splurging, given her discomfort with everything from the menu on down. Sitting down for dinner alone, she “discreetly googled some of the words on her phone under the table: cotija, calabacitas, tabbouleh, bisque.”
Adeline lays out a breadcrumb trail that eventually reveals that Sonny has lugged some especially heavy personal baggage to Sanctuary. Her neglectful, addict mom died when she was a child, only to be replaced with a repressive, overprotective grandmother who stomped on her every ambition. Early adulthood has been defined by failed relationships and uninspiring work. People are to be feared: She’d sooner indulge in croquettes at the resort’s cocktail party than make small talk with other vacationers, and when she braves the world outside her cottage it’s usually with a notebook in her hand.
The early pages of “People Watching” weave Sonny’s perspective with brief sketches of her fellow resort-goers, which usually open with godlike authority: “Allana was ten feet tall and beautiful.” “Chloe and Mark had been married for seven blissful years.” “Dale was invisible. He had that way about him.” The odd bluntness of these statements, combined with their touches of surreality (“ten feet tall”?), makes clear that these mini-bios are scribblings from Sonny’s notebook. Terrified of the world, but determined to better understand what she’s been excluded from for so long, she’s determined to imagine her way into reality.
Sonny’s Walter Mitty-like imaginings do some valuable double duty in the novel. For one thing, they offer some necessary conflict in a setting that’s all about relieving tension. Resorts are, almost by definition, boring, but as Sonny hangs out poolside or does yoga or endures a singing bowl, her mind (and the novel) is reeling with imagined infidelities, deaths, gambling debts and other domestic dramas. Second, her sketches serve as character-defining examples of projection on Sonny’s part, as her observations of others reveal her own concerns about love, sex, money and rejection.
And, of course, she’s deflecting, too — better to make up drama about others than confront her own. The memories Sonny eventually surfaces are more potent than anything she makes up. But they’re also crueler, and you can understand why she’ll think and write about anything but. She recalls a time as a child when she was neglected for days on end and braved a trip to a neighbor for help. “The woman asked Sonny when the last time she took a bath or changed her clothes was and Sonny didn’t know the answer. Her only response was, ‘I’m four,’ as she proudly held up five fingers,” Adeline writes. “She was three.”
Remember the words “beach read” up there? It’s not difficult to predict how Sonny’s arc will curve: It’s a Walter Mitty story, but also an Ugly Duckling story. That notebook full of mini-dramas becomes a source of drama in itself. Say, that bartender is pretty cute, isn’t he? And Sonny eventually integrates with a few of her fellow resort-goers, and learns there’s more to them in reality than her imaginings. As one character gently chastises her, “People can surprise you, Sonny, but you have to let them.”
The pat-ness of Sonny’s Sanctuary journey makes her yet another entry in an evolving genre you might call “Is This Character Concussed?” In these novels, the main character has been so absurdly addled by a (late-revealed) trauma that everyday human interactions are wildly aglow with (at first) terror or (later) manic-pixie wonder. Prime examples include Gail Honeyman’s “Eleanor Oliphant Is Completely Fine,” Sayaka Murata’s “Convenience Store Woman,” and multiple characters in the oeuvre of Sally Rooney and Ottessa Moshfegh. (Women are the most common character in these books, but guys can play too: See Fredrik Backman’s “A Man Called Ove.”) Socially awkward characters offer an opportunity for dry humor and deadpan prose. Because these stories have to dramatize a search for normalcy, its leads tend to be awkward in ways that strain credulity.
But you don’t have to wholly buy into the idea of a character like Sonny to find something intriguing about what Adeline is saying about storytelling throughout “People Watching.” In Sonny’s notebook, every observation is a moral choice, a mini-essay about what proper conduct is, what failure is, how you might get past it, and what our responsibilities to others might be. A notebook is a place of wish fulfilment, and a place for vengeance. Sonny explains at one point that she only started to get free of her grandmother’s clutches once she was capable of imagining her violently erased:
“I wrote a story. About her. And how one day while I was at work the house caught fire. Which wasn’t that far-fetched because the whole place really was a fire hazard. And … and … well, she was asleep inside the house, in the story, and didn’t make it out. I didn’t mean it. I was angry. And it was a story.”
Adeline stresses the word “story” three times in one brief passage. Sonny wants to reassure everybody that she was just making it up. But no writer is, not entirely.
Bestselling author Jessica Knoll’s protagonists mostly follow a specific pattern: They are women who have learned Not. To. Flinch.
On the Shelf
Helpless
By Jessica Knoll Scribner: 320 pages, $28
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
And, apparently, neither does Knoll. Talking over Zoom about her fourth novel, the erotic thriller “Helpless,” which is out this month, the author is blunt about the challenges it took to complete the book. “It takes a lot of skill to write good sex,” Knoll says. “I relied a lot on feedback from my editor and from my book agents saying ‘this is hot; this is not.’”
Knoll has written romantic scenes before, but “Helpless” needed to be enthralling and economic enough not to get her kicked off of Target’s bookshelves. In the end, the author says, “I went by what felt good and natural for these characters and maybe a little bit of the really unfiltered talk you have with your girlfriends after a couple martinis or are on a girls trip.”
Knoll’s successful career as a novelist rests on her knack for creating provocative page-turners that depict the absolute worst things one person could do to another — but in such a sensational, tongue-prickling-sour-candy kind of way that her books come off as devilishly evil beach reads. Since her debut bestseller, 2015’s “Luckiest Girl Alive,” — a master class in braided narration between a Machiavellian magazine editor and her younger self who endured so much emotional and physical trauma that it’s no wonder she grew up to be extremely calculating — to 2018’s reality TV-set “The Favorite Sister” and 2023’s “Bright Young Women,” a response to the public’s obsession with immortalizing serial killers while also not knowing the name of a single one of their victims. Knoll’s books are not only stories about women who do not care if you like them but also ones where disastrous results await the women who do follow our cultural conditioning to be agreeable to men.
Her “Helpless” heroine is not so different from a lot of her previous main characters: Type A overachievers with cutting inner monologues that let the reader know they’re always one step ahead in the social Darwinism that is female relationships. This time, she’s named Faye Heron, an Emmy-winning Hollywood multi-hyph who found cachet while working on one of those edgy premium dramedies that probably aired on HBO. Faye, and her husband/producing partner, have parlayed this notoriety into indie, cool-kid projects that are just commercial enough that some of the target audiences’ boomer parents may also watch.
When Faye’s beloved college professor dies suddenly and she’s asked to speak at a memorial ceremony, nostalgia and flattery make her drop everything and hightail it back to the leafy northeastern college town. The place is a time capsule with sketchy internet service, drunken frat boys, and — most crucially — Faye’s college boyfriend Henry, who is now married with two kids and still lives in the area. The clothing references and song choices are popcorn for those old enough to remember the aughts but young enough to party during them. The Elsa Peretti-designed Tiffany & Co. heart necklace that was the it-girl accessory of the time, and now is one that Gen Zers are fishing out of the bottoms of their parents’ jewelry boxes, factors significantly into the plot.
Although the story eventually spirals into other tropes of the Knoll-niverse — kidnappings, cover-ups, affairs, the laissez-faire security that only old money affords — Faye stands out because she wants to be told what to do. In a secure and mutually consenting relationship, of course. And preferably after she’s told her partner what she wants.
“Helpless” was influenced by the 1995 Susanna Moore thriller “In the Cut” as well as Sarah J. Maas’ currently uber-popular romantasy series “A Court of Thorns and Roses,” both of which discuss power imbalances and smart women who become enamored with dangerous lovers.
Knoll has always been open about creating work that’s commercial. She famously wrote a 2018 New York Times opinion piece, titled “I Want to Be Rich and I’m Not Sorry,” that discussed her need to rank in money with an almost Scrooge McDuck fervor: “Success, for me, is synonymous with making money,” she writes. “I want to write books, but I really want to sell books. I want advances that make my husband gasp and fat royalty checks twice a year. I want movie studios to pay me for option rights and I want the screenwriting comp to boot.”
(Evelyn Freja / For The Times)
During our Zoom, with the background carefully faded behind her wavy blond bob, she promises that she doesn’t just copy and paste her subjects and settings from what sells.
“I’m just always looking on what the spin is; like, what the timely take is on something that happens to capture my attention,” she continues, citing a habit she credits to her early career working in women’s magazines like Cosmopolitan and Self. She adds that “I just happen to be interested in, like, really dark s—.”
“Helpless,” Knoll stresses, is a work of fiction; even though fans may be looking to draw comparisons to her life since “Luckiest Girl” was heavily influenced by her own career and childhood. Like the book’s Faye, Knoll went to a private liberal arts college. She’s spent time in the Adirondacks with the wealthy families who vacation in bare-basics cabins on the land they own. And she has dealt with her share of studio executives. Unlike Faye, Knoll is happily married to her husband, financial technology executive Greg Cortese. They share a young daughter. Last year, the family moved back to New York after some time in Los Angeles.
She does relate to Faye’s wealth dynamics. Her “Helpless” heroine grew up middle class but now has reached the “made it” level of nervous cockiness that happens when you combine new money and fame; the dream of so many who move to L.A. Henry, Faye’s ex, and his family are so comfortable in their generational wealth that he was raised to wear the same, now-bleach-stained, chambray button-down he had in college than buy a new one because clothes aren’t sound investments.
Knoll says she doesn’t want “things to feel didactic,” but concedes that class divides offer a treasure trove of stories.
“I just find myself going back to, again and again, this idea of someone who is the outsider because they don’t have the pedigree of their peers, but however many years later they’ve accomplished something and they think that they’re on more equal footing with these people from their past,” Knoll says. “Then something happens that brings them back into this environment where maybe they felt less-than years ago. They think that they’re going to go back and be like, ‘well, I’ll show you now because I’ve made it’ and those feelings of inferiority are still there.”
As she’s grown older and her career has become more stable, Knoll says she doesn’t think about success and fame the same way she did when she wrote her viral opinion piece or gave interviews where she talked about money and her own financial security. She says now that her priority is “the longevity of the career.”
Like her heroines, no one tells Knoll what to do. Unless she gives the OK.
Friedlander is a pop culture and entertainment journalist based in Los Angeles who hates coffee but loves Coke Zero.
“Little House on the Prairie” is the third television adaptation to bear the name of Laura Ingalls Wilder’s 1935 autobiographical novel of life on the Kansas plains in 1869 to 1870. The first, the Michael Landon television series that debuted in 1974, set in Walnut Grove, Minn., is really based on Wilder’s subsequent volume, “On the Banks of Plum Creek,” while a 2005 miniseries, shown as part of “The Wonderful World of Disney,” was generally faithful to the letter and spirit of the text. The record shows that I liked it.
The new “Little House,” created by Rebecca Sonnenshine and streaming on Netflix, is fairly faithful to its spirit, and less so to its letter. At its center is the Ingalls family: father Charles (Luke Bracey), or Pa; mother Caroline (Crosby Fitzgerald), or Ma; serious older sister Mary (Skywalker Hughes), and adventurous Laura (Alice Halsey), whose story this is. They are heading out to Kansas to what they imagine is free land, though they will have a thing or two coming on that account. “This will be our new forever,” says Laura, who doesn’t yet know that her future will be in Minnesota.
To be sure, the character relations remain essentially the same. Pa will play his fiddle. Laura and Mary will dance, when not getting in one another’s hair, or sulking. There will be singing, frequently. Major episodes from the book — when Jack got lost, (Jack is the dog, and he will be found), the incident of Mr. Scott (Maclean Fish) down the well, Christmas, the one about malaria, and all the business of building the eponymous log house — are accounted for, if in some cases expanded upon or altered. So extensive are its innovations that, although I am going to point out certain departures from or additions to the text, because I am that sort of pedant, it may be best just to regard this “Little House” as an original thing, a variation on a theme by Laura Ingalls Wilder, or a reboot of the television show.
Some touches are drawn from Wilder’s own history. Her mother was a teacher before she married Charles Ingalls; her maternal grandfather died from drowning. The black cowboy hat Laura sports is straight from a photograph of Wilder as a girl. Laura is made a sort of mini-Scheherazade to foreshadow the writer she’ll become (though she’ll also ask, “What am I ever going to need in a book?”). Baby Carrie, in the novel from the start, is born, as she really was, in Kansas, meaning that Ma is pregnant through much of the season — a condition that may have seemed too complicated for a 1935 children’s book, but which adds new strains of drama to the miniseries. It also introduces a theme in which Ma, who has lost “so many” babies, is trying to give Pa a boy, though he is not the sort to be disappointed in another girl.
Also new to the story is Independence, Kan., itself, which in the book is an offstage place to which Pa will sometimes go to fetch necessities, disappearing from the story until he returns. Here it’s nearby — a nicely realized little movie town to which the whole family will sometimes repair, to shop, raise a church or join in a Founders Day celebration. It’s dominated by a less than transparent booster, Eli James (Michael Hough), who comes with a self-important wife, Jemma (Mary Holland), and a pair of teenage twin girls who might be described as all dressed up with nowhere to go.
Notably, the series’ treatment of Native Americans feels intended to rectify, or at least deepen, their portrayal in the book — naive or romantic, maybe, though not, I’d argue, negative — with added native characters and discussions regarding the land and treaties and such. While Ma frets about the natives in the neighborhood, for no reason she can articulate — one juvenile delinquent steals her cherished china figurine, but we understand that there are social causes for his behavior — Pa, who has built his house unwittingly on an Osage trail, has sympathy and perspective. (Ma will soften considerably, because this is that kind of show.)
It’s not an issue for guileless, outgoing Laura, who acquires an Indigenous best friend, Good Eagle (Wren Zhawenim Gotts). Her father, Mitchell (Meegwun Fairbrother) will be a friend to Pa and her mother, White Sun (Alyssa Wapanatâhk), will provide a skeptical counterpoint to Ma. Mission-educated, they live in a nice house with a crucifix on the wall and shelves full of literature.
Most every character gets some backstory, some traumatic. The Ingalls left Wisconsin under a cloud. (“Why didn’t anyone come to say goodbye?” wonders Laura.) (Still, it’s good to see Martin Donovan as Pa’s angry father in a fever-induced flashback.) Ma married Pa, her social inferior, against her mother’s wishes. Caleb (Kowen Cadorath), a new character who works for another new character, Emily Henderson (Barrett Doss), at the general store, was abandoned as a small child. Echoing the character played by Victor French in the TV show, Mr. Edwards (Warren Christie) has a drinking problem, brought on by a family tragedy. (In the book he describes himself as a “wildcat from Tennessee”; here he has wild … cats.) Much of the time, someone is sad. Halsey and Hughes, who are very watchable throughout, are especially good with worried looks, and Fitzgerald, perhaps the series’ MVP, is an artist when it comes to expressing concern.
Sonnenshine also invents tentative romances between Edwards and Lacey Aubert (Rebecca Amzallag), who is French, independent, runs the saloon, I guess you’d call it, dresses in black and wears trousers; between Emily and Dr. Tann (Jocko Sims), who is in the book, but much more established here; and between Mary and Caleb. All these storylines sacrifice the centrality of Laura as a character and observer and makes this “Little House” less a story of a family out on its own than a family in the context of community. (That’s for later volumes in Wilder’s nine-book saga.)
It’s very sentimental — which the novel, with its matter-of-fact, if sensually evocative prose, and its child’s-eye view, is not. The dialogue here is ripe with sampler sentiments and weighted with meaning (“Hope is everything,” “What if this is where we finally become who we’re meant to be,” “Life can get away from you if you don’t speak your heart.”) Much of the added material would have easily fit the TV series — temperamentally, it’s very much a case of late 20th century broadcast television — which to some may be a recommendation.
It’s pretty, often very pretty, to look at. The flat expanse of Winnipeg, Canada, where it was filmed, makes a good topographical match for east Kansas. Prairies are prairies.
Ariana Grande was announced for American Horror Story’s next all-star cast on Halloween 2025.
Hayley Anderson Screen Time TV Reporter
21:27, 10 Jul 2026
Singer Ariana Grande was announced for American Horror Story last year. (Image: GETTY)
American Horror Story is coming very soon with fans desperate to know of Ariana Grande ’s involvement.
FX announced yesterday, Thursday, July 9, that American Horror Story would be returning for season 13, on Thursday, September 24, in the US with no fixed date yet on its UK debut.
But going by the last series, American Horror Story could very well land on Disney Plus also in September or early October.
Excitement has been building for the anthology drama’s return since Halloween last year when it was revealed that singer and Wicked star Ariana Grande was set to star.
At the time, she was confirmed alongside American Horror Story regulars such as Sarah Paulson, Angela Bassett, Jessica Lange, Emma Roberts and Billie Lourd.
Will Ariana Grande star in American Horror Story season 13?
Unfortunately, Ariana Grande will no longer star in season 13 of American Horror Story, despite the initial casting announcement.
It has been reported that Ariana won’t make her debut because of conflicts with timing changes to the production dates of the horror series which are happening simultaneously with her Eternal Sunshine tour.
The 33-year-old hadn’t filmed any scenes for the new series with fans noticing her absence when the cast was previously spotted shooting exterior scenes.
Ariana rescheduled her Eternal Sunshine tour July concert dates at the end of June, shifting shows in Brooklyn and Boston to a couple of days later.
The star will continue her tour with upcoming stops including Canada, New York and London.
Unlike Ariana, previously announced stars Six Feet Under’s Frances Conroy and model Alex Consani were spotted shooting.
So far though, there has been no word on what American Horror Story season 13 will be about with details still under wraps.
American Horror Story is available to watch on Disney Plus.
