Every December, much of the Christian world enters a familiar cycle of celebration: carols, lights, decorated trees, consumer frenzy and the warm imagery of a snowy night. In the United States and Europe, public discourse often speaks of “Western Christian values”, or even the vague notion of “Judeo-Christian civilisation”. These phrases have become so common that many assume, almost automatically, that Christianity is inherently a Western religion — an expression of European culture, history and identity.
It is not.
Christianity is, and has always been, a West Asian / Middle Eastern religion. Its geography, culture, worldview and founding stories are rooted in this land — among peoples, languages and social structures that look far more like those in today’s Palestine, Syria, Lebanon, Iraq, and Jordan than anything imagined in Europe. Even Judaism, invoked in the term “Judeo-Christian values”, is itself a thoroughly Middle Eastern phenomenon. The West received Christianity — it certainly did not give birth to it.
And perhaps nothing reveals the distance between Christianity’s origins and its contemporary Western expression more starkly than Christmas — the birth story of a Palestinian Jew, a child of this land who was born long before modern borders and identities emerged.
What the West made of Christmas
In the West, Christmas is a cultural marketplace. It is commercialised, romanticised and wrapped in layers of sentimentality. Lavish gift-giving overshadows any concern for the poor. The season has become a performance of abundance, nostalgia, and consumerism — a holiday stripped of its theological and moral core.
Even the familiar lines of the Christmas song Silent Night obscure the true nature of the story: Jesus was not born into serenity but into upheaval.
He was born under military occupation, to a family displaced by an imperial decree, in a region living under the shadow of violence. The holy family were forced to flee as refugees because the infants of Bethlehem, according to the Gospel narrative, were massacred by a fearful tyrant determined to preserve his reign. Sound familiar?
Indeed, Christmas is a story of empire, injustice and the vulnerability of ordinary people caught in its path.
Bethlehem: Imagination vs reality
For many in the West, Bethlehem – the birthplace of Jesus – is a place of imagination — a postcard from antiquity, frozen in time. The “little town” is remembered as a quaint village from scripture rather than a living, breathing city with actual people, with a distinct history and culture.
Bethlehem today is surrounded by walls and checkpoints built by an occupier. Its residents live under a system of apartheid and fragmentation. Many feel cut off, not only from Jerusalem – which the occupier does not allow them to visit – but also from the global Christian imagination that venerates Bethlehem’s past while often ignoring its present.
This sentiment also explains why so many in the West, while celebrating Christmas, care little about the Christians of Bethlehem. Even worse, many embrace theologies and political attitudes that erase or dismiss our presence entirely in order to support Israel, the empire of today.
In these frameworks, ancient Bethlehem is cherished as a sacred idea, but modern Bethlehem — with its Palestinian Christians suffering and struggling to survive — is an inconvenient reality that needs to be ignored.
This disconnect matters. When Western Christians forget that Bethlehem is real, they disconnect from their spiritual roots. And when they forget that Bethlehem is real, they also forget that the story of Christmas is real.
They forget that it unfolded among a people who lived under empire, who faced displacement, who longed for justice, and who believed that God was not distant but among them.
What Christmas means for Bethlehem
So what does Christmas look like when told from the perspective of the people who still live where it all began — the Palestinian Christians? What meaning does it hold for a tiny community that has preserved its faith for two millennia?
At its heart, Christmas is the story of the solidarity of God.
It is the story of God who does not rule from afar, but is present among the people and takes the side of those on the margins. The incarnation — the belief that God took on flesh — is not a metaphysical abstraction. It is a radical statement about where God chooses to dwell: in vulnerability, in poverty, among the occupied, among those with no power except the power of hope.
In the Bethlehem story, God identifies not with emperors but with those suffering under empire — its victims. God comes not as a warrior but as an infant. God is present not in a palace but in a manger. This is divine solidarity in its most striking form: God joins the most vulnerable part of humanity.
Christmas, then, is the proclamation of a God who confronts the logic of empire.
For Palestinians today, this is not merely theology — it is lived experience. When we read the Christmas story, we recognise our own world: the census that forced Mary and Joseph to travel resembles the permits, checkpoints and bureaucratic controls that shape our daily lives today. The holy family’s flight resonates with the millions of refugees who have fled wars across our region. Herod’s violence echoes in the violence we see around us.
Christmas is a Palestinian story par excellence.
A message to the world
Bethlehem celebrates Christmas for the first time after two years without public festivities. It was painful yet necessary for us to cancel our celebrations; we had no choice.
A genocide was unfolding in Gaza, and as people who still live in the homeland of Christmas, we could not pretend otherwise. We could not celebrate the birth of Jesus while children his age were being pulled dead from the rubble.
Celebrating this season does not mean the war, the genocide, or the structures of apartheid have ended. People are still being killed. We are still besieged.
Instead, our celebration is an act of resilience — a declaration that we are still here, that Bethlehem remains the capital of Christmas, and that the story this town tells must continue.
At a time when Western political discourse increasingly weaponises Christianity as a marker of cultural identity — often excluding the very people among whom Christianity was born — it is vital to return to the roots of this story.
This Christmas, our invitation to the global church — and to Western Christians in particular — is to remember where the story began. To remember that Bethlehem is not a myth but a place where people still live. If the Christian world is to honour the meaning of Christmas, it must turn its gaze to Bethlehem — not the imagined one, but the real one, a town whose people today still cry out for justice, dignity and peace.
To remember Bethlehem is to remember that God stands with the oppressed — and that the followers of Jesus are called to do the same.
The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.
Imax is having a moment. More than 50 years after debuting at the 1970 Osaka world’s fair with the 17-minute experimental film “Tiger Child,” the format has become the ascendant king of spectacle. Today, Imax counts 1,829 screens in 89 countries — just 1% of theaters — yet makes up an increasingly vital part of the theatrical box office, with 50% market share growth since 2018 and an estimated $1.2-billion take in 2025. And the company shows no signs of slowing down.
“As long as there are filmmakers who are fans as well as studios who are fans, we’re going to make a difference,” says Chief Executive Richard Gelfond, who acquired the company in 1994 with business partner Bradley Wechsler.
Breaking into mainstream Hollywood didn’t come easy. For decades Imax films were largely documentaries, often about space exploration, nature or discoveries, with systems installed in museums and science centers. The flash point came in 2008 with Christopher Nolan’s “The Dark Knight,” which featured 28 minutes filmed with Imax 70mm cameras. Film buff and industry content creator Lizzy Gonzalez vividly remembers when the Joker (Heath Ledger) unmasks himself during the chaotic bank heist. “It was my earliest Imax experience, and my jaw dropped in awe,” she says. Ever since, she’s been hooked, admitting the premium format is “the only legit movie experience that immerses you in the story.”
Directors are now leaning in, with the “Filmed for Imax” (FFI) lineup expanding to 14 titles in 2025 — doubling last year’s total. The program lets filmmakers shoot with Imax cameras or other approved cameras and provides additional production support, such as a longer window with the equipment and more publicity during release. “In previous years, Imax used to do about 10% of the box office in North America, but [with] FFI movies we’ve averaged about 15%. It means more dollars to whoever makes them and more profit to the studio,” says Gelfond.
Regina Hall in “One Battle After Another.”
(Warner Bros. Pictures)
Not all movies exhibited in Imax formats are shot under the FFI banner — indeed, from James Cameron’s original “Avatar” to Paul Thomas Anderson’s “One Battle After Another,” the majority of Imax releases are instead enhanced using digital media remastering. But movies that take advantage of FFI, including “Sinners,” “Superman” and “F1,” are seeing box-office benefits and a palpable moviegoing experience.
“Today’s audiences are searching for an emotional connection; they want to feel something, to step inside the filmmaker’s vision. That’s exactly what we wanted to give them by shooting in 65mm Imax,” says “Sinners” cinematographer Autumn Durald Arkapaw, who was the first woman to shoot in the format. “When you sit in a dark theater and take in a full 1.43:1, 15-perf Imax image, it fills your field of view, and you finally understand what cinema can be.”
Claudio Miranda, the cinematographer behind Joseph Kosinski’s “Top Gun: Maverick” and “F1,” agrees. “For me, Imax is all about immersion. It brings audiences more into the movie than any other format, surrounding them from the north, south, east and west with the film, which is needed for a story of the size and scope of ‘F1.’ Joe and I operate under the shared understanding that audiences react more viscerally to a film that’s been shot authentically, and they can feel it in their bones if it’s not. So we gravitate towards telling immersive, human stories.”
Imax is improving technical capabilities too, including a new Imax 70mm film camera system nicknamed “The Keighley” in honor of late Chief Quality Officer David Keighley, who oversaw hundreds of Imax projects. Its most significant improvement is reduced noise. The previous model was bulky, heavy and notoriously loud. Thanks to the quieter design, Nolan’s “The Odyssey” will become the first theatrical movie shot entirely on Imax film cameras, something he couldn’t achieve on “Oppenheimer” due to sound issues.
“Brad Pitt” in “F1.”
(Warner Bros. Pictures)
Nolan’s adaptation of Homer’s epic has already caused a stir, as most Imax tickets sold out a year before its release next July. Imax superfan Shane Short, who saw “Oppenheimer” 132 times and once sat next to Arkapaw during a screening of “Sinners,” says it’s a good thing. “What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.”
Of course, Imax is not the only big-screen game in town. There’s AMC Prime, Cinemark XD, Regal RPX, Dolby Cinema, Real3D and 4DX, to name a few. All share one thing in common: an extra premium for a ticket. “The upcharges for a lot of people are worth it,” says Comscore senior media analyst Paul Dergarabedian. “When you go into Imax or other premium formats, it’s really about the sound and vision coming together. And for the right movie, the right screen, fans who don’t go to the movies every day are going to splurge.”
How much that will cost audiences going forward is left up to theaters. “By way of our agreement, it’s not our place to get involved,” says Gelfond about pricing. “We believe there could be more elasticity if it’s a big release, but again, it’s up to the exhibitor.” Any indication of a price squeeze on consumers will likely surface in the next two years with the forthcoming “Project Hail Mary,” “Supergirl,” “The Batman: Part Two” and “Dune: Part Three,” for which director Denis Villeneuve shot scenes using the new Imax 70mm cameras.
A “60 Minutes” story on the Trump administration’s imprisonment of hundreds of deported Venezuelan migrants to El Salvador was pulled by CBS News Editor-In-Chief Bari Weiss shortly before it was scheduled to air Sunday night.
The unusual decision drew a sharp rebuke from Sharyn Alfonsi, the correspondent for the piece.
Alfonsi said the decision was motivated by politics, according to an email she circulated to colleagues and viewed by the Times. Alfonsi noted that the story was ready for air after being vetted by the network’s attorneys and the standards and practices department.
“It is factually correct,” Alfonsi wrote. “In my view, pulling it now — after every rigorous internal check has been met is not an editorial decision, it is a political one.”
According to the CBS News press department’s description of the segment, Alfonsi spoke to released deportees who described “the brutal and torturous conditions they endured inside CECOT,” one of El Salvador’s harshest prisons.
In a statement, a representative for CBS News said the report called “Inside CECOT” will air in a future “60 Minutes” broadcast. “We determined it needed additional reporting,” the representative said.
Weiss viewed the segment late Thursday, according to people familiar with the matter who were not authorized to comment publicly. She had a number of issues with story and asked for additional reporting, which could not be completed in time for airing on Sunday. A press release promoting the story went out Friday.
Weiss reportedly wanted the story to have an interview with an official in President Trump’s administration.
But Alonsi said in her email the program “requested responses to questions and/or interviews” with the the Department of Homeland Security, the White House and the State Department.
“Government silence is a statement, not a VETO,” Alfonsi wrote. “Their refusal to be interviewed is a tactical maneuver designed to kill the story.”
Alfonsi’s email said she learned the story was pulled on Saturday and that she had not discussed the matter with Weiss.
Even if Weiss’ concerns might be valid, the sudden postponement of a “60 Minutes” piece after it has been promoted on air, on social media and through listings on TV grids is a major snafu for the network.
For Weiss, it’s perilous situation as her every move as a digital media entrepreneur with no experience in television is being closely scrutinized.
As the founder of the conservative-friendly digital news site who was personally recruited by Paramount Chief Executive David Ellison, journalists at CBS News and media industry observers are watching to see if Weiss’ actions are tilting its editorial content to the right.
Trump recently said “60 Minutes” is “worse” under Paramount’s new ownership following an interview with Rep. Marjorie Taylor Greene, in which she was highly critical of the president and his administration.
Paramount acquired the Free Press for $150 million as part of the deal to bring Weiss over. Her first major move was to air a highly sympathetic town hall with Erika Kirk, the widow of slain right-wing activist Charlie Kirk. Erika Kirk has taken over as head of Turning Point USA, the political organization her husband founded.
With the ongoing fracas over President Trump’s demolition of the White House’s East Wing, a number of other Trump administration-led attempts to remake the architectural landscape of Washington, D.C., have flown largely under the radar. This includes the sale and possible demolition of the Wilbur J. Cohen Building, which was completed in 1940 and was added to the National Register of Historic Places in 2007.
Part of what makes the building so beloved is a series of 1942 frescoes by Ben Shahn titled “The Meaning of Social Security,” commissioned as part of the Roosevelt administration’s robust New Deal art program. In a recent article in the New Republic, architectural historian Gray Brechin is quoted as calling the Cohen building, “a kind of Sistine Chapel of the New Deal.”
The structure, originally known as the Social Security Administration Building, has served as the headquarters for Voice of America since 1954. In March, Trump signed an executive order cutting funding for the agency that oversees VOA, and most of its staff was placed on administrative leave. In June, more than 600 VOA employees received layoff notices, and the service basically shut down.
At the beginning of this year, Congress agreed to sell the Cohen building, which had been suffering from major maintenance issues. The scope of the threat to the building became clear earlier this month when Bloomberg reported that “The White House is independently soliciting bids to recommend the demolition of the historic buildings [including the Cohen building], without the input of the General Services Administration, which maintains government buildings.”
“Federal properties can be sold quickly with limited public input. As powerful interests move in haste to sell this historic building, we call for the process to be paused and conducted with transparency, respect, and public participation,” the petition, which has garnered more than 4,700 signatures, states.
The Shahn frescoes aren’t the only precious New Deal artworks in danger. Other art housed in the Cohen building include murals by Seymour Fogel and Philip Guston.
I’m arts and culture writer Jessica Gelt wondering when enough is enough. Here’s your arts news for the week.
On our radar
Grant Gershon conducts the Los Angeles Master Chorale at Walt Disney Concert Hall.
(Jamie Phan / Los Angeles Master Chorale)
Disney Hall-e-lu-jah It’s hard to imagine the holidays without music, and the Los Angeles Master Chorale has three days of caroling and chorusing that should lift anyone’s seasonal spirits. A new addition to the choir’s traditional offerings is the family-friendly “Carols for Kids” (11 a.m. Saturday. Walt Disney Concert Hall), featuring Youth Chorus LA and designed for even the squirmiest children, 6 and under. That will be followed by the “Festival of Carols” (2 p.m. Saturday. Disney Hall), a program of global holiday music. The group’s performance of “Handel’s Messiah” (7 p.m. Sunday. Disney Hall) is a worthy centerpiece of any celebration. If you’re ready to have your own voice be heard, “Carols on the Plaza” (6 p.m. Monday, across the street at the Music Center’s Jerry Moss Plaza), is your chance to join in on free outdoor caroling with family, friends and fellow Angelenos. Festivities conclude with the Master Chorale’s “Messiah Sing-Along” (7:30 p.m. Monday) back at Disney Hall where 2,000 voices will unite for the “Hallelujah Chorus.” — Kevin Crust Walt Disney Concert Hall, 111 S. Grand Ave.; Music Center, 135 N. Grand Ave., downtown L.A. lamasterchorale.org
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The week ahead: A curated calendar
FRIDAY The Fruit Cake Follies In its 27th year, this madcap holiday variety show promises “music, mirth and merriment.” 8:30 p.m. Friday and Saturday, with dinner at 6:30 p.m.; 1 p.m Sunday, with brunch at 11 a.m. Catalina Jazz Club, 6725 Sunset Blvd. Hollywood. catalinajazzclub.com
Guadalupe Maravilla: A Performance Expanding on his solo exhibition “Les soñadores,” the transdisciplinary artist creates a collective ritual combining sound, vibration and healers from around the world alongside L.A.-based artists. 8 p.m. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Piotr Beczala The Polish-born tenor, known for his work in opera and the classical vocal canon, performs, accompanied by conductor and pianist Kamal Khan. 7:30 p.m. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica broadstage.org
“Wet” by Sahar Khoury at Parker Gallery, 2025
(Sahar Khoury / Parker Gallery)
Sahar Khoury The interdependence of materials and their social and cultural environments inspired the sculptor’s newest solo exhibition, “Wet,” a series of pieces created from ceramic, steel, iron, brass and aluminum. 11 a.m.–6 p.m. Tuesday–Saturday, through Jan. 17. Parker Gallery, 6700 Melrose Ave. parkergallery.com
SATURDAY Christmas Joy Concert The free Third@First concert series continues with a program of carols, classic and new. 4 p.m. First United Methodist Church of Pasadena, 500. E. Colorado Blvd., Pasadena. thirdatfirst.org
Sanaa Lathan and Omar Epps in the romantic drama “Love & Basketball.”
(New Line Cinema)
Love & Basketball Writer-director Gina Prince-Bythewood marks the 25th anniversary of her modern romance classic, starring Sanaa Lathan, Omar Epps, Alfre Woodard and Dennis Haysbert. 7 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
The cast of “Nutcracker! Magical Christmas Ballet.”
Nutcracker! Magical Christmas Ballet This 80-plus city tour offers a distinct blend of classical ballet with avant-garde circus techniques and global influences, complete with 10-foot-tall animal puppets constructed by Roger Titley. For its 33rd year on the road, the production adds a new character: Sweets the Dog, created by Barry Gordemer of the award-winning puppeteer studio Handemonium. — Ashley Lee Noon, 4 and 8 p.m. Saturday. Wiltern Theatre, 3790 Wilshire Blvd., Los Angeles; and 1:30 and 6:30 p.m. Sunday. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. nutcracker.com
SUNDAY Collecting Impressionism at LACMA This new exhibition traces how the museum built its collection and its pursuit of legitimacy through early acquisitions of American and California Impressionism and donations of paintings by Edgar Degas and Camille Pissarro from major Hollywood collectors. Through Jan. 3, 2027. Los Angeles County Museum of Art, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
Actor Taylor Nichols, left, and director Whit Stillman at a 20th anniversary screening of “Metropolitan” at the 2010 Sundance Film Festival.
(Jemal Countess / Getty Images)
Metropolitan It’s hard to believe that it’s been 35 years since the young socialites of the “urban haute bourgeoisie” entered our consciousness via filmmaker Whit Stillman’s delightfully droll film and its banter-driven, Oscar-nominated screenplay. Stillman and actor Taylor Nichols will be on hand for a Q&A with the screening. 2 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
WEDNESDAY
Aloe Blacc and Maya Jupiter host the 2025 L.A. County Holiday Celebration.
(Music Center)
L.A. County Holiday Celebration The Music Center’s annual spectacular features more than 20 local music ensembles, choirs and dance companies. The free, ticketed event will also be broadcast on PBS SoCal. Aloe Blacc and Maya Jupiter are this year’s hosts. 3-6 p.m. Dec. 24. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org
— Kevin Crust
Dispatch: A director with a human touch
Cameron Watson is the new artistic director of Skylight Theatre Company.
(David Zaugh)
Stage director Cameron Watson has one of the best batting averages in town.
His productions of “The Sound Inside” at Pasadena Playhouse, “On the Other Hand, We’re Happy” for Rogue Machine Theatre at the Matrix and “Top Girls” at Antaeus Theatre Company were morale-boosting for a critic in the trenches, offering proof that serious, humane, highly intelligent and happily unorthodox drama was alive and well in Los Angeles.
Watson’s appointment as artistic director of Los Feliz’s Skylight Theatre Company starting Jan. 1 is good news for the city’s theater ecology. Producing artistic director Gary Grossman, who led the company for 40 years with enormous integrity, built the small but ambitious Skylight into an incubator of new work that embraces diversity and the local community.
Developing new plays is fraught with risk. Watson has the both the artistic acumen and audience sensitivity needed to usher Skylight through this perilous moment in the American theater when so many companies seem to be holding on by a thread.
Watson, like Peter Brook before him, knows how to convert an empty space into a realm of magic and meaning. For Watson, the play’s the thing. But for the spark to happen, actors and audience members need a director as intuitively attuned to the uncertain human drama as Skylight Theatre Company’s new leader. (The director’s current production of “Heisenberg” at Skylight ends Sunday.)
— Charles McNulty
Culture news and the SoCal scene
Moving in stereo The most Tony-nominated play in Broadway history, “Stereophonic,” is playing at the Hollywood Pantages Theatre through Jan. 2. Times theater critic Charles McNulty caught opening night and wrote that the first touring production fails to capture the high notes of the Broadway original. A few days later, I sat down for an interview at Amoeba Records with Will Butler, the former Arcade Fire multi-instrumentalist who wrote the music for the show. Our interview took place before Butler got onstage with the cast of the show for a short live in-store performance.
Boiling in Brooklyn Brooklyn was also on McNulty’s itinerary, where he saw Michelle Williams in the new revival of Eugene O’Neill’s “Anna Christie” at St. Ann’s Warehouse. “Michelle Williams seems to have unlimited emotional access. Her inner intensity expresses itself in a frenzy of volcanic feeling that can never be tamped down once it reaches its boiling point,” McNulty writes.
The name game The Kennedy Center continued its Trump-era transformation Thursday after the board voted unanimously to rename the world-famous performing arts venue The Donald J. Trump and the John F. Kennedy Memorial Center for the Performing Arts. It remains unclear if the move is legal, or if the name change will need to be made official via an act of Congress.
Viva Las Vegas I got a look at newly revealed architectural plans for the Las Vegas Museum of Art, which is expected to break ground in 2027. Pritzker Prize-winning architect Diébédo Francis Kéré is designing the city’s first freestanding museum and says his ideas were inspired by the red rocks and canyons of the desert surrounding Sin City.
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LACMA United Workers at Los Angeles County Museum of art voted to unionize Wednesday. The vote in favor was 96%, and came after LACMA rejected workers’ requests for voluntary recognition. Staffers have expressed disappointment in management over what they are calling its anti-union campaign.
La malchance The Louvre is down on its luck. Maintenance issues have lately plagued the famous Paris museum, and then there was that infamous heist. Now workers have voted to strike over working conditions among other complaints.
No, our Women in Film issue doesn’t exclusively feature women — Noah Baumbach and Brendan Fraser feature in our Dec. 16 edition as well — but it does shine a particular spotlight on their extraordinary contribution to the year in film.
As performers and production designers, writers, directors and more, the women included here helped fashion deeply felt stories of parenthood, friendship, grief and betrayal, and that’s just for starters. Read on for more highlights from this week’s Envelope.
The Envelope Actresses Roundtable
(Jason Armond / Los Angeles Times)
This year’s Oscar Actresses Roundtable was full of laughter, sparked by everything from Gwyneth Paltrow’s impression of mother Blythe Danner to Sydney Sweeney’s tales from inside the ring on “Christy.” But when it comes to self-determination, this year’s participants — who also included Emily Blunt, Elle Fanning, Jennifer Lopez and Tessa Thompson — are dead serious.
As performers, producers and businesswomen, the sextet told moderator Lorraine Ali, the boxes that Hollywood and the broader culture seek to put them in need not apply. And realizing that is its own liberation. As Lopez put it, “I don’t ever feel like there’s somebody who can say to me, ‘No, you can’t.’”
‘Hamnet’s’ last-minute miracle
(Evelyn Freja / For The Times))
Since the moment I first saw “Hamnet,” I’ve been raving to everyone I know about its climactic sequence, set inside the Globe Theatre during a performance of Shakespeare’s “Hamlet.” (Well, if you can call it “raving” when you preface your recommendation with the sentence, “I sobbed through the last 45 minutes.”) As it turns out, though, the process of making the film’s final act was as miraculous as the finished product.
“There were only four days left of shooting on ‘Hamnet’ when Chloé Zhao realized she didn’t have an ending,” Emily Zemler begins this week’s digital cover story, which features Zhao, actors Jessie Buckley, Paul Mescal and Joe Alwyn and production designer Fiona Crombie. What they created from that point, combining kismet, creative inspiration and grueling preparation, will buoy your belief in the power of art. “It was like a tsunami,” Buckley tells Zemler. “I’ll never forget it.”
A Is for Animal Wrangler
When I first read Helen Macdonald’s transporting “H Is for Hawk,” which combines memoir, nature writing and literary criticism, I can’t say I closed the book wondering when we’d get a film adaptation. Little did I know that director Philippa Lowthorpe, star Claire Foy and a pair of married bird handlers would provide such a thorough answer to my skepticism.
As Lisa Rosen writes in her story on the marriage of art and goshawk in “H Is For Hawk,” that meant shaping the production around the notoriously wary birds of prey, including its lead performance. “It wasn’t like having another actor who had another agenda or actions or a perspective that they wanted to get across in the scene,” Foy told Rosen of her extensive screen time alone with the five goshawks who stood in for Helen’s. “I was along for the ride with these animals.”
Even the most accomplished actors sometimes feel out of their depth on a movie.
Gwyneth Paltrow, who returns to the big screen this fall as an Old Hollywood star trying to make a new start in “Marty Supreme,” was “way out over her skis” in her early 20s when she played a Park Avenue wife opposite older co-star Michael Douglas in “A Perfect Murder.” Jennifer Lopez, who showcases her triple-threat skill set in the musical “Kiss of the Spider Woman,” felt a “huge” responsibility to get it right when portraying Tejana icon Selena Quintanilla in the 1997 biopic about the late singer. And Emily Blunt, who goes toe-to-toe with Dwayne Johnson in the mixed martial arts saga “The Smashing Machine,” had to avoid being typecast as the go-to “acerbic British bitch” after the success of 2006’s “The Devil Wears Prada.”
These and many more tales from inside the maelstrom of megawatt stardom were the subject of The Envelope’s 2025 Oscar Actresses Roundtable, where Paltrow, Lopez and Blunt were joined by Sydney Sweeney, who transformed physically and emotionally to play boxing legend Christy Martin in “Christy”; Tessa Thompson, who tries to keep up appearances as the title character in “Hedda,” Nia DaCosta’s acclaimed new adaptation of “Hedda Gabler”; and Elle Fanning, who plays an American star struggling to find her way into a Norwegian art film in “Sentimental Value.”
In conversation with Times critic Lorraine Ali, the six performers discussed how they deal with bad press, resist being put in career boxes and inhabited some of the most-talked-about film roles of the year.
Jennifer, you play the title role in “Kiss of the Spider Woman,” a story set in Argentina during a military dictatorship. It takes place in a political prison where the men imagine themselves in a glamorous, sweeping musical. As producer on the film, why was it important for you to tell this story now?
Lopez: It’s never been more relevant, which is really scary. Manuel Puig wrote the novel in the 1970s about these two prisoners during the uprising in Argentina. It really is a love story about seeing the humanity in another person, like two very different people with different political views. One is queer, and the other is a political revolutionary. The two of them were like oil and water. But they escaped into the [fantasy of] a movie, which is “Kiss of the Spider Woman.” They slowly come together and see each other’s souls instead of who they were on the outside. I think with everything that’s happening in the world right now, especially in this country, with Latinos and queer communities being targeted, demonized — there’s never been a more important time to say, “Look at me on the inside. Stop with all of this divisiveness. See people for who they are.”
Gwyneth, “Marty Supreme” is set in the 1950s. You play Kay Stone, a faded starlet. Who did you base her on?
Paltrow: She’s an amalgam of a few ideas, but principally Grace Kelly, who also had this amazing movie career and was this incredible star, and then walked away from it for marriage. My character does the same. When I was looking at photographs [of Kelly during] her films, and then photographs after she got married, it was like the light dimmed. She lost something. My character had a very rough road to get to stardom, so she walks away from this big career to marry an unsuitable but very wealthy man. And then her son dies, so she has a lot of tragedy.
Sydney, “Christy” is the story of Christy Martin, a pioneer in popularizing women’s boxing in the 1980s and 1990s. You really transformed for the role. Can you talk about that transformation?
Sweeney: Her story is probably one of the most important stories I’ll ever get to tell, so I felt that immense importance. I needed to fully transform myself. I trained every day for three months leading up to shooting. I put on 35 pounds. And I got to spend time with her, and now she’s like one of my best friends. I just kinda lived and breathed Christy for the entirety of the whole thing.
There’s so much violence in her world, particularly outside the ring. Was the real-life Christy there when you shot the domestic abuse scenes between her and her husband, Jim Martin (played by Ben Foster)?
Sweeney: To protect her, we didn’t have her on set when we were shooting the last part of the movie where the domestic violence came into play. The following Monday, we had her come to set, and the entire crew stood up and just started applauding. It was so beautiful. Then after that, she was on set all the time. We would be in the ring, and she’d be sitting [outside the ring], and I’d hear her say, “Hit her with the left hook, Sydney!”
Lopez: She was coaching from the sidelines?
Sweeney: Oh, yeah. We were having a blast. And in the fights, we actually fought. My No. 1 thing with all the girls was that I don’t want this to be fake because so much of Christy comes to life in the ring. I didn’t want to have [the camera] at the back of my head or have to cut to fake the punches. Every single one of those girls, they’re badasses. They punched me, and I punched them. We had bloody, broken noses. I had a concussion.
Blunt: Sydney broke someone’s nose.
Sweeney: I got a concussion. I’m not going to confirm [what else happened]. But I definitely caused some, uh, bruises and blood.
Emily, with “The Smashing Machine,” you play Dawn Staples, girlfriend to Mark Kerr, who was a pioneer in the field of MMA fighting. How much did you know about that world before taking on the role?
Blunt: I knew very little, and I was moved that Mark Kerr was my first window into [MMA] because he is such a juxtaposition to the violence of the world. This is a man who headbutted people to oblivion, and when you meet him, he’s like [subdued tone], “Hi, how are you?” He’s so nice. And I said to Mark one day, “How did you do that?” And he goes, “I know, it was nasty.” He’s just so sweet and dear and eloquent. But I think he was sort of filled with this uncontrollable rage that he hardly knew what to do with, and he struggled so much with his own demons. The movie is more about struggle and fragility than it is about fighting.
Tessa, “Hedda” is an adaptation of Henrik Ibsen’s play “Hedda Gabler” and you play the title role. Your castmate, Nina Hoss, said the role of Hedda Gabler is for women actors what Hamlet is for men. Do you agree?
Thompson: I like to say that Hamlet is the male Hedda, just because I think it’s a nice reversal. But people say that because the truth is that we don’t have that many [roles] that are canonical in the same way that Hedda Gabler is, so it feels like this behemoth. It’s one of the parts in theater that feels like a mountain to climb. There’s a kind of complexity to the character that has compelled audiences and actors for centuries … which is the case with both [Hedda and Hamlet]. But I think the comparison is kind of boring, frankly. I remember an actor saying to me, “Oh, I learned in drama school you have to have your Hedda ready.” And I did not have my Hedda ready, but I got it ready.
The wardrobe and sets in “Spider Woman,” “Hedda” and “Marty Supreme” are beautiful. Did you swipe mementos when the films wrapped?
Paltrow: No, you can’t.
Lopez: I mean, you can.
Paltrow: I tried the Birkin bag from “The Royal Tenenbaums” [but I could not], so I took the loafers instead.
Blunt: Not the same. Not quite.
Thompson: [To Gwyneth]: I was almost you [in “Tenenbaums”] for Halloween, but I couldn’t get it together in time and I wanted do you justice. But one day …
Paltrow: Next year. I’ll lend you the loafers.
Elle, in “Sentimental Value,” you play a Hollywood star who’s cast in an art–house European production. In reality, you were shooting the massive production “Predator: Badlands” when you joined “Sentimental Value,” a smaller European film. Were the parallels with your character, Rachel, apparent at the time?
Fanning: I got a call that “Joachim Trier has a part for you and would like to talk over Zoom, and here’s the script.” I was like, “Oh, my gosh, Joachim Trier [who made] ‘The Worst Person in the World.’” I would’ve said yes to one line. But I was already doing “Predator.” I was about to go off to New Zealand, but it’s very important for Joachim to rehearse, so he [wanted me] to come to Oslo. I wasn’t sure which movie I could do, and I wanted to do both. So, of course, there were parts to the character that I could relate to. I kept thinking, “There’s a lot of meta-ness going on in this film,” particularly for my character, being the Hollywood actress coming to Oslo for the first time, working with a Norwegian director. And coming off of this action-packed film to go to this very intimate, emotional foreign film, they fed into each other in ways that I didn’t expect them to.
How do you all deal with rough reviews?
Paltrow: I try to never read anything about myself, full stop, ever. Period.
Lopez: Wait, not anything about yourself? Ever? Period? Because I don’t read reviews of my films either, but people will bring it to you it when it’s good and you’re like, “Oh, nice.” But there’s other things they’ll bring you …
Paltrow: Sometimes I’ll come upon it.
Lopez: And you want to die.
Paltrow: Want to die. Like when someone forwards you a link to something really horrible about yourself, and they’re like, “Oh, this is bull—.” I do try to avoid [that kind of stuff]. I deleted Instagram.
Blunt: Me too.
Lopez: You need to cleanse every once in a while.
Sweeney: Sounds nice. I can’t do that.
How do you push the negative stuff about you or your personal life aside and focus on your work?
Sweeney: It helps when you love what you do. Like, if you’re loving the characters that you get to play, you’re loving the people you get to work with, and you’re proud of what you’re doing, then it’s just outside noise. When we walk on set, the world kind of disappears and we get come to life in a different kind of way. Those are the moments and the relationships that matter. Everything else is just people we don’t know.
Paltrow: [To Lopez] I want to hear your answer to this question.
Lopez: From the very beginning, for whatever reason, I’ve been a lightning rod for nice things and a lot of negativity. And it’s hard because you say to yourself, “These people don’t get me. They don’t see me. They don’t understand me.” Then all of a sudden they do. And then they don’t again. Even from when I was very young, I would always say, “I know who I am. I’m a good person. I know what I’m doing. People wouldn’t hire me if I wasn’t good at what I do.” I was always affirming myself and keeping my feet on the ground. Luckily, I had a great mom and dad who really instilled in me a sense of self. And what Sydney was saying, I’d have to block out the noise so I can put my head on the pillow at night and go, “I did good today. I was a good person. I was kind to people. I worked really hard. I’m a good mom.” That has always helped me through.
Thompson: Not having your sense of self or identity entangled in this other self that belongs to the public seems like such a healthy thing. I’m still trying to figure out my balance with that. When I was acting in some projects, I felt like I was delivering a lump of clay that got sculpted by somebody else. So if someone was harsh on the final [product], I was like, “Well, I didn’t sculpt it. I’m just the material.” But now that I produce, it’s a completely different thing. It’s building it from the ground up and feeling so much responsibility to the people that you’ve made it with. You made a baby and sent it into the world, and you just hope it doesn’t get misunderstood.
Gwyneth, you’re stepping back into the film world with “Marty Supreme” after seven years doing other things, such as Goop. Were you nervous coming back into the fold?
Paltrow: I [had been] doing things like “Iron Man” and “The Avengers,” which are totally fun, but it’s like doing a TV show where you go back in and you know the character. It’s not that difficult. So it had been a really long time, and I was like, “How did I used to do this? How are you, like, natural?” And then I did the camera test and I was really nervous. I felt like a fish out of water. And then luckily the first scene that I shot for real was a scene in the movie where she’s rehearsing a play. And I started in the theater, and I did a million plays before I ever did a film. The camera was far away, and I had my mom’s voice in my head. She’s like, “You’re on the boards, you know, just let the energy come through your body.”
Can wardrobe and styling help you embody the emotional core of a role?
Blunt: Dawn’s got a vibe for sure. It was that very overt ’90s, overglamorized thing, and everything was so revealing. I feel like my t— looked like two heads by the time they were done with the Wonderbra. They were just up under my chin. That helps you stand different, walk different. And the nails helped me. She had this incredibly long, square, chunky French tip manicure, and she’d talk with her hands. And the spray tan and the wig. It’s all fabulous. It’s such an amazing thing to look at yourself and go, “Who’s that?”
Thompson: [In “Hedda”], the construction of those dresses in the ’50s, there’s so much boning. We had Lindsay Pugh, who’s a brilliant costume designer. I also started looking up the starlets of the time and what their waist sizes were. It was like 20 or 21 inches. They were extreme. In the beginning, when we were constructing the dress, I was like, “I’m going to try to get down to that Dior-like silhouette,” which is impossible. Then we [fell in] love with the idea that the dress doesn’t actually fit her, because she’s inside of a life that doesn’t fit her. But the sheer sort of circumference of the dress makes her a woman who comes into a room and takes up space. A big part of [a woman’s] currency was their beauty and their body. That felt very foreign to me to inhabit. I didn’t recognize or had maybe suppressed the idea of using that part of me to gain power in the world.
The 2025 Envelope Oscar Actresses Roundtable: Top row, left to right, Tessa Thompson, Gwyneth Paltrow and Elle Fanning. Bottom row, left to right, Sydney Sweeney, Jennifer Lopez and Emily Blunt.
Hollywood likes to put people in boxes, particularly women. What boxes has it tried to stuff you in?
Fanning: I was in “Maleficent” and I played Sleeping Beauty, so like Disney princess in pink. Blond.
Blunt: But look at that face. Come on!
Fanning: But I can be mean too! In “The Great,” [I played] Catherine the Great, she was a queen, but she was raunchy. It was such a delicious show in that way. People were like, “Whoa.” They were surprised [seeing me like] that.
Blunt: If there’s a movie that takes off, you will have to carve out space away from that. I remember after “The Devil Wears Prada,” I got offered every acerbic British bitch. I’m like, “I should not do that for a while.”
Paltrow: When I stepped back to be an entrepreneur around 2008, I really confused and upset people. Nobody understood what I was doing, and I faced a lot of criticism and confusion over the course of the 17 years since I sent out my first Goop newsletter. I really do think that women, we are so incredibly multifaceted. We are all the archetypes. We’re not just a mother, or an artist, or an intellectual. We’re all the things. So I’ve always kind of tried to make it my mission to say, like, “No, don’t put us in boxes. We get to define who we are.”
Blunt: Was it hard for you to keep going and ignore it?
Paltrow: It was really hard. Some days I was like, “Why did I do this? The headwinds are so extreme and I’m so misunderstood. I had a perfectly good job. People did my hair. Why on earth did I do this to myself?”
Thompson: And you also did it before there was a cultural appreciation for people doing multihyphenates and starting businesses.
Lopez: I think our generation started thinking, like, “We need and want to do other things.” Even when I started acting and I had done my early films, “Out of Sight” and “Selena,” and then decided I wanted to record music, and it was such a big deal. People were like, “They’re never going take you seriously as an actor ever again.”
Paltrow: And you had the No. 1 movie and the No. 1 album in the same time, right?
Lopez: It was in the Guinness Book of Records. But that’s the thing, everybody’s always trying to tell you: “You can only do this,” or “You can only do that.” I had my perfume line. I had my clothing lines. I have my J Lo beauty now. You have to just do what feels good for you. It doesn’t mean it’s for everybody. Somebody wants to just act their whole life, that’s beautiful too. That’s fantastic. I still want to direct. I still want to write more books. And I don’t ever feel like there’s somebody who can say to me, “No, you can’t.”
Blunt: Say that to Sydney and she’ll break their nose.
Rob Reiner was born into the lineage of comedy thanks to his father, television pioneer Carl Reiner, and he first gained recognition as an actor, including his Emmy-winning role on “All in the Family.” And while there is certainly a streak of humor through almost all of his films, what marks Reiner’s work as a director is his astonishing versatility, able to switch styles from one project to the next with remarkable ease. The run of films that begins with his feature directing debut, 1984’s “This Is Spinal Tap,” on through 1986’s “Stand by Me,” 1987’s “The Princess Bride,” 1989’s “When Harry Met Sally…,” 1990’s “Misery,” 1992’s “A Few Good Men” and 1995’s “The American President” is simply breathtaking for its mastery across the specrum of popular Hollywood moviemaking.
‘This Is Spinal Tap’ (1984)
Harry Shearer, left, Christopher Guest and Michael McKean in the movie “This Is Spinal Tap.”
(Archive Photos / Getty Images)
Though not strictly the first to explore the form, Reiner’s first feature as director more or less cemented the concept of the “mockumentary,” presenting itself as a documentary on the (fictional) rock band Spinal Tap. Reiner appeared onscreen as Marty DiBergi, director of the faux film-within-the-film, forming a neat transition from his career as an actor to director. And while this year’s sequel “Spinal Tap II: The End Continues” was not particularly well received, the legacy of the original, still among the most quotable comedies ever made, remains untouchable. — Mark Olsen
‘The Sure Thing’ (1985)
Made amid the teen sex comedy craze of the 1980s, Reiner’s second film, about two college students sharing a cross-country car trip together, had something special and different about it — namely the performances of John Cusack and Daphne Zuniga, who both brought an openhearted tenderness to a story that might have toppled into cynicism. The emotional earnestness that would often come through in Reiner’s work first emerged here, making what could have been a run-of-the-mill exercise into something more. — M.O.
‘Stand by Me’ (1986)
Wil Wheaton, left, River Phoenix, Jerry O’Connell and Corey Feldman in the movie “Stand by Me.”
(Columbia Pictures)
Based on a novella by Stephen King, “Stand by Me” is about four boys — played by Wil Wheaton, Corey Feldman, Jerry O’Connell and River Phoenix — who find their friendship tested during a particularly eventful Labor Day weekend of 1959. Approaching the story with a mix of dewy nostalgia and incisive clarity, the film earned Reiner the first of three nominations from the Directors Guild of America. — M.O.
‘The Princess Bride’ (1987)
Robin Wright and Cary Elwes in the movie “The Princess Bride.”
(20th Century Fox / Kobal / REX / Shutterstock)
It would be inconceivable to not include “The Princess Bride” in any consideration of Reiner’s best, as the swashbuckling fantasy romance embodies a sense of playful inventiveness and anything-can-happen ethos. An elderly man reads a story to his grandson as the action comes to life in the tale of a farm boy and a princess who are fated to be together, if only they can overcome all manner of trials and challenges. The movie has now enchanted multiple generations of children and adults alike. — M.O.
‘When Harry Met Sally…’ (1989)
Meg Ryan and Billy Crystal in the movie “When Harry Met Sally…”
(Castle Rock Entertainment)
As much as any other movie, “When Harry Met Sally…” (scripted by Nora Ephron) has come to embody the modern romantic comedy with its will they-won’t-they tale of two good friends who come to realize they may also work as something more. Grounded by the charming performances of Meg Ryan and Billy Crystal, as well as a strong supporting cast including Carrie Fisher and Bruno Kirby, the film has a rare warmth. It was Reiner’s mother Estelle who delivered the unforgettable punchline, “I’ll have what she’s having.” — M.O.
‘Misery’ (1990)
Kathy Bates and James Caan in “Misery.”
(Archive Photos / Getty Images)
Reiner named his production company Castle Rock Entertainment in honor of his deep love for Stephen King’s fiction and after making a splash with “Stand by Me,” there was no way he wasn’t going do something scarier as a follow up. (You get a hint in “When Harry Met Sally” — look at the hardcover Crystal is skimming.) King’s captive-author nightmare gets classed up by two knockout performances calibrated in perfect harmony: Kathy Bates’ psycho fan, a turn that earned her an Oscar, and James Caan as the bedbound writer. At the time, Caan was an actor in need of a second chance. Reiner was it. — Joshua Rothkopf
‘A Few Good Men’ (1992)
Jack Nicholson, left, and Tom Cruise in the movie “A Few Good Men.”
(Mondadori Portfolio / Mondadori via Getty Images)
Reiner seemingly conquered yet another movie genre with this tightly wound military courtroom thriller and received his only Academy Award nomination, for best picture. Reiner was also recognized with nominations from the Directors Guild, Producers Guild and Golden Globes for the film. Written by Aaron Sorkin and featuring a cast that includes Tom Cruise and Demi Moore, this has Jack Nicholson’s volcanic delivery of the now-legendary line, “You can’t handle the truth!” — M.O.
‘The American President’ (1995)
Michael Douglas and director Rob Reiner on the set of “The American President.”
(Archive Photos / Getty Images)
A president as a romantic lead? Such things actually happened during the Clinton era. Reiner injects warmth and realism to Sorkin’s swaggering original script, loaded with wonky dialogue and walk-and-talks. But it’s the careful steering of Michael Douglas as a widowed U.S. leader and rising star Annette Bening as an extra-persuasive eco-lobbyist that distinguish this gentle comedy, one that seems positively alien to our current climate. Widely known for his vigilant activism in later years, Reiner’s on-screen politics were no less optimistic. — J.R.
‘Rumor Has It’ (2005)
Jennifer Aniston and Kevin Costner in the movie “Rumor Has It.”
(Melissa Moseley / Warner Bros. Pictures)
Not many would dare to take on a sort-of sequel to a movie as beloved as “The Graduate,” but Reiner brought a casual ease to the tale of a woman, played by Jennifer Aniston, who believes her mother and grandmother were the inspiration for Charles Webb’s original source novel. Though reviews at the time largely savaged the movie, it now seems just the kind of self-assured studio comedy audiences yearn for, buoyed by Shirley MacLaine’s outrageous performance as a woman who may be the real Mrs. Robinson. — M.O.
‘Albert Brooks: Defending My Life’ (2023)
Albert Brooks, left, and Rob Reiner in the documentary “Albert Brooks: Defending My Life.”
(HBO)
Reiner received two Emmy nominations for this documentary tribute to comedian, actor and filmmaker Albert Brooks, a friend of Reiner’s since the two met as teenagers at Beverly Hills High. It’s captured as an expansive conversation with the two sharing a meal in a restaurant. As much as the film is a portrait of Brooks, it also reflects Reiner’s own unique position as someone who knew show business and its ups and downs with a rare intimacy. — M.O.
Kathy Kanjo, the director and CEO of the Museum of Contemporary Art San Diego, has been named the new director of the UC Irvine Langson Orange County Museum of Art. The news comes a little more than two months after UC Irvine announced it had acquired Orange County Museum of Art in a merger that created the new institution.
At that time, a rep for UCI said the hope was to announce a new director in the new year, so Kanjo’s appointment comes ahead of schedule. Kanjo has been at MCASD since 2016. Prior to that, she served as director of the University Art Museum at UC Santa Barbara.
When I first wrote about the merger, UC Irvine confirmed that it was taking over OCMA’s assets, employees and debt. A rep for UC Irvine declined to comment on a number, writing in an email that the budget for the new museum will come from university operating funds.
Kanjo inherits responsibility for a substantial collection of more than 9,000 artworks, including UC Irvine’s Gerald Buck Collection of more than 3,200 paintings, sculptures and works on paper by some of the state’s most important artists, including David Hockney and Ed Ruscha.
“The newly merged collection is both anticipated and underknown,” wrote Kanjo in an email. “I am eager to unveil and contextualize the artistic legacies of the Irvine, Buck, and OCMA collections from a particularly California point of view. Collected over time and together at last, these objects are an asset to be shared generously and supported by scholarly research. The constellation that is the UC Irvine Langson Museum offers a portrait of our state’s innovative artistic impulses.”
Kanjo also said the new museum would get a significant boost from UC Irvine’s research strength and commitment to public service.
“We will create rigorous and welcoming exhibitions that resonate with our region’s diverse audiences, young and old,” she wrote.
Despite the great fanfare of its opening in 2022, OCMA — with its 53,000-square-foot, $98-million Morphosis-designed building on the eastern edge of the Segerstrom Center for the Arts campus — never seemed fully realized. Problems were hinted at — but never explained — in April when CEO Heidi Zuckerman announced her intention to step down.
Meanwhile UC Irvine had been planning to construct a museum for its collection for quite some time. That, too, never really got off the ground. If there were ever a time to build consensus around a new mandate for the merged organizations, that time is now. Kanjo has a vision for the future that appears to center scholarship.
“I want to clarify the core identity of the collection and find connections back to campus and into the community,” she wrote. “The post is appealing because of its connection to UC Irvine, a leading research university, and the opportunity to work with the students within the Claire Trevor School of the Arts and all of the campus resources. The potential to foster innovation by working in a cross-disciplinary/cross-campus way is strong.”
I’m arts and culture writer Jessica Gelt, planning a drive to Orange County in the new year. Here’s your arts and culture news for the week.
On our radar
Broadway star Ben Platt will perform 10 shows at the Ahmanson starting Friday.
(Rob Kim / Getty Images)
Ben Platt: Live at the Ahmanson The award-winning star of stage and screen hits town for 10 shows where he’ll sing his greatest hits and Broadway favorites. And where Platt goes, his big-time friends follow, so expect some great surprise guests each night. 8 p.m. Friday-Saturday and Dec. 19-20; 3 and 8 p.m. Sunday and Dec. 21; 7:30 p.m. Wednesday-Thursday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
“Holiday Legends” is this year’s seasonal performance by the Gay Men’s Chorus of Los Angeles.
(Gay Men’s Chorus of Los Angeles)
Holiday Legends The Gay Men’s Chorus of Los Angeles’ annual celebration pays homage to the greats, including Mariah Carey, Irving Berlin and Johnny Mathis, plus traditional choral classics, pop Christmas anthems and Hanukkah favorites. 8 p.m. Saturday. 3 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills gmcla.org
The Huntington in San Marino.
(Allen J. Schaben/Los Angeles Times)
Stories from the Library: From Brontë to Butler This series highlights the literary side of the Huntington and its world-class library. In the newest exhibition, journals, letters, photographs and personal items provide a behind-the-scenes look at two centuries of women writers bookended by Charlotte Brontë and Octavia E. Butler. Through June 15. The Huntington, 1151 Oxford Road, San Marino. huntington.org
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The week ahead: A curated calendar
FRIDAY Holiday Soirée & Cabaret Fountain Theatre celebrates the season with a live announcement of its 2026 season, a cabaret performance from Imani Branch & Friends, plus, a raffle and reception. There will also be two separate performances of the cabaret. Soirée and cabaret: 7 p.m. Friday. Cabaret: 7 p.m. Saturday; 2 p.m. Sunday. Fountain Theatre, 5060 Fountain Ave. FountainTheatre.com
Violinist Renaud Capuçon.
(Los Angeles Philharmonic)
Mozart & Sibelius Violinist Renaud Capuçon joins conductor Gustavo Gimeno and the L.A. Phil for a program that combines “Mozartian elegance with brooding Nordic drama.” 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Santasia The long-running holiday spectacle featuring broad comedy, musical parodies and old school claymation returns to L.A. for a 26th year. Through Dec. 27. Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. santasia.com
SATURDAY
Laurel Halo performs Saturday at the Nimoy.
(Norrel Blair)
Laurel Halo Currently based in L.A., the musician combines ambient, drone, jazz and modern sensibilities in new works for piano and electronics in a preview of her forthcoming album. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Sound + Source Art meets music as DJs Novena Carmel, Francesca Harding and KCRW music director Ale Cohen provide a site-specific soundtrack to the exhibition “Corita Kent: The Sorcery of Images.” 11 a.m.-6 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org
Pacific Jazz Orchestra The 40-piece hybrid big band and string ensemble, led by Chris Walden, presents its “Holiday Jazz Spectacular,” featuring vocalists Aloe Blacc, Sy Smith and Brenna Whitacre. 8 p.m. Alex Theatre, 216 N. Brand Blvd., Glendale. pacificjazz.org
Holiday Family Faire Theatricum Botanicum’s annual daylong winter wonderland featuring performances, food and drink and a marketplace; followed by “It’s a Wonderful Life: A Live Radio Play,” by Joe Landry, and starring Beau Bridges, Wendie Malick, Joe Mantegna and Rory O’Malley. 11 a.m. Family Faire; 5 p.m. “It’s a Wonderful Life.” Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd, Topanga. theatricum.com
SUNDAY
The band Emily’s Sassy Lime in Olympia, Wash., circa 1995.
(Emily’s Sassy Lime)
Artist Talk Emily Ryan, Amy Yao and Wendy Yao of the ‘90s Orange County riot grrrl band Emily’s Sassy Lime join artist-activist-musician Kathleen Hanna of the band Bikini Kill for a discussion of adolescence, creativity and community. The talk is part of the museum’s “2025 California Biennial: Desperate, Scared, But Social,” which closes Jan. 4. 2 p.m. UC Irvine Langson Museum/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
English Cathedral Christmas The Los Angeles Master Chorale brings the magic of Canterbury Cathedral downtown, reveling in the grand tradition of British choral works from the 16th century to the present.. 7 p.m Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
TUESDAY Aron Kallay In “Midcentury/Modern,” the pianist performs works from world premieres by Michael Frazier, Zanaida Stewart Robles and Brandon Rolle, along with 20th century works by Grażyna Bacewicz and Sergei Prokofiev in a program presented by Piano Spheres. 8 p.m. Thayer Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org
WEDNESDAY BOTH: A Hard Day’s Silent Night Open Fist Theatre Company’s annual holiday charity concert benefiting Heart of Los Angeles, an organization that helps kids in underserved communities, infuses the music of the Beatles with Gospel flair to tell the Christmas story. 8 p.m. Wednesday-Friday; 3:30 and 9 p.m. Saturday; 3:30 and 7 p.m. Sunday. Atwater Village Theatre, 3269 Casitas Ave. openfist.org
Elaine May and Walter Matthau star in “A New Leaf,” which screens at the Academy Museum on Wednesday.
(Film Publicity Archive/United Archives via Getty Images)
A New Leaf Elaine May made Hollywood history with this 1971 screwball noir as the first woman to write, direct and star in her own feature film. Walter Matthau co-stars as a playboy who has burned through his own fortune so plans to marry and murder May’s kooky heiress to get hers. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Culture news and the SoCal scene
Architect Frank Gehry in his Playa Vista office in 2015.
Swed also wrote a story that came out of a recent trip to Tokyo about Carl Stone, an L.A. based composer from the Japanese capital, who uses his laptop to record environmental sounds and transform them into sonic sculptures. “Stone’s iPad, with its open sonic complexity, created a sense of space, a roomy aural soundscape in which jazz and butoh became elements not egos, not larger than life, just more life, the merrier,” writes Swed.
McNulty wrote an interesting essay about characters breaking the fourth wall and how it can galvanize an audience. “Breaking the fourth wall is a tried-and-true method of calling an audience to attention. But a new breed of dramatist, writing in an age of overlapping calamities — environmental, political, economic, technological and moral — is retooling an old playwriting device to do more than inject urgency and immediacy in the theatrical experience,” McNulty writes.
I spent time in Palm Springs over the Thanksgiving break to cover the grand reopening of the Palm Springs Plaza Theatre, which recently underwent a $34-million restoration. To celebrate, it hosted an intimate show featuring actor, singer, songwriter Cynthia Erivo.
I also had the pleasure of sitting down for an interview with Broadway actor Ben Platt in advance of his 10-day residency at the Ahmanson Theatre. We bonded over being anxious people, and he shared that he keeps his anxiety in check through live performance.
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Cameron Watson is the new artistic director of Skylight Theatre Company.
(David Zaugh)
Cameron Watson has been named Skylight Theatre Company’s new artistic director, beginning Jan. 1. He will replace Gary Grossman, who is stepping down after four decades at the helm of the Los Feliz-based theater, during which time he turned the company into one of the most respected small theaters in the city. “Cameron’s passion, his theatrical vision and his ability to lead, listen, nurture and mentor make him the perfect fit for Skylight,” Grossman said in a statement.
Earlier this week, philanthropist MacKenzie Scott gave $20 million to the Japanese American National Museum — the largest single gift in the organization’s history. Scott, the former wife of Amazon founder Jeff Bezos, also gave the museum $10 million in 2021.
Hamza Walker, the Brick executive director who is behind the critically acclaimed “Monuments” exhibit at the Brick and MOCA, has been honored with the 2026 Audrey Irmas Award for Curatorial Excellence, given by the Bard College Center for Curatorial Studies. “Hamza’s three decades of curatorial practice have brought forward voices and perspectives that challenge dominant narratives, create dialogue, and have left a lasting imprint on the field,” said Tom Eccles, executive director of the Center for Curatorial Studies, in a statement.
The Times this week released its annual list of the 101 best restaurants in Los Angeles. I plan to go to every one. Well, maybe, like 20. It could get expensive.
Call it an accident, call it the plan. But don’t stoop to the reprehensible gaslighting of calling it a lie: It is fact that federal agents have detained and arrested dozens, if not hundreds, of United States citizens as part of immigration sweeps, regardless of what Kristi Noem would like us to believe.
During a congressional hearing Thursday, Noem, our secretary of Homeland Security and self-appointed Cruelty Barbie, reiterated her oft-used and patently false line that only the worst of the worst are being targeted by immigration authorities. That comes after weeks of her department posting online, on its ever-more far-right social media accounts, that claims of American citizens being rounded up and held incommunicado are “fake news” or a “hoax.”
“Stop fear-mongering. ICE does NOT arrest or deport U.S. citizens,” Homeland Security recently posted on the former Twitter.
Tuesday, at a different congressional hearing, a handful of citizens — including two Californians — told their stories of being grabbed by faceless masked men and being whisked away to holding cells where they were denied access to phones, lawyers, medications and a variety of other legal rights.
Their testimony accompanied the release of a congressional report by the Senate’s Permanent Subcommittee on Investigations in which 22 American citizens, including a dozen from the Golden State, told their own shocking, terrifying tales of manhandling and detentions by what can only be described as secret police — armed agents who wouldn’t identify themselves and often seemed to lack basic training required for safe urban policing.
These stories and the courageous Americans who are stepping forward to tell them are history in the making — a history I hope we regret but not forget.
Immigration enforcement, boosted by unprecedented amounts of funding, is about to ramp up even more. Noem and her agents are reveling in impunity, attempting to erase and rewrite reality as they go — while our Supreme Court crushes precedent and common sense to further empower this presidency. Until the midterms, there is little hope of any check on power.
Under those circumstances, for these folks to put their stories on the record is both an act of bravery and patriotism, because they now know better than most what it means to have the chaotic brutality of this administration focused on them. It’s incumbent upon the rest of us to hear them, and protest peacefully not only rights being trampled, but our government demanding we believe lies.
“I’ve always said that immigrants who are given the great privilege of becoming citizens are also some of the most patriotic people in this country. I know you all love your country. I love our country, and this is not the America that we believe in or that we fought so hard for. Every person, every U.S. citizen, has rights,” Rep. Robert Garcia (D-Long Beach) said as the hearing began.
Less than 5 feet tall, Velez is a graduate of Cal Poly Pomona who was working in the garment district in June when ICE began its raids. Her mom and teenage sister had just dropped her off when masked men swarmed out of unmarked cars and began chasing brown people. Velez didn’t know what was happening, but when one man charged her, she held up her work bag in defense. The bag did not protect her. Neither did her telling the agents she is a U.S. citizen.
“He handcuffed me without checking my ID. They ignored me as I repeated it again and again that I am a U.S. citizen,” she told committee members. “They did not care.”
Velez, still unsure who the man was who forced her into an SUV, managed to open the door and run to an LAPD officer, begging for help. But when the masked man noticed she was loose, he “ran up screaming, ‘She’s mine’” the congressional report says.
The police officer sent her back to the unmarked car, beginning a 48-hour ordeal that ended with her being charged with assault of a federal officer — charges eventually dropped after her lawyer demanded body camera footage and alleged witness statements. (The minority staff report was released by Rep. Richard Blumenthal of Connecticut, the highest-ranking Democrat on the Permanent Subcommittee on Investigations.)
“I never imagined this would be occurring, here, in America,” Velez told lawmakers. “DHS likes … to brand us as criminals, stripping us of our dignity. They want to paint us as the worst of the worst, but the truth is, we are human beings with no criminal record.”
This if-you’re-brown-you’re-going-down tactic is likely to become more common because it is now legal.
In Noem vs. Vasquez Perdomo, a September court decision, Supreme Court Justice Brett Kavanaugh wrote that it was reasonable for officers to stop people who looked foreign and were engaged in activities associated with undocumented people — such as soliciting work at a Home Depot or attending a Spanish-language event, as long as authorities “promptly” let the person go if they prove citizenship. These are now known as “Kavanaugh stops.”
Disregarding how racist and problematic that policy is, “promptly” seems to be up for debate.
Javier Ramirez, born in San Bernardino, testified as “a proud American citizen who has never known the weight of a criminal record.”
He’s a father of three who was working at his car lot in June when he noticed a strange SUV idling on his private property with a bunch of men inside. When he approached, they jumped out, armed with assault weapons, and grabbed him.
“This was a terrifying situation,” Ramirez said. But then it got worse.
One of the men yelled, “Get him. He’s Mexican!”
On video shot by a bystander, Javier can be heard shouting, “I have my passport!” according to the congressional report, but the agents didn’t care. When Ramirez asked why they were holding him, an agent told him, “We’re trying to figure that out.”
Like Velez, Ramirez was put in detention. A severe diabetic, he was denied medication until he became seriously ill, he told investigators. Though he asked for a lawyer, he was not allowed to contact one — but the interrogation continued.
After his release, five days later, he had to seek further medical treatment. He, too, was charged with assault of a federal agent, along with obstruction and resisting arrest. The bogus charges were also later dropped.
“I should not have to live in fear of being targeted simply for the color of my skin or the other language I speak,” he told the committee. “I share my story not just for myself, but for everyone who has been unjustly treated, for those whose voice has been silenced.”
You know the poem, folks. It starts when “they came” for the vulnerable. Thankfully, though people such as Ramirez and Velez may be vulnerable due to their pigmentation, they are not meek and they won’t be silenced. Our democracy, our safety as a nation of laws, depends on not just hearing their stories, but also standing peacefully against such abuses of power.
Because these abuses only end when the people decide they’ve had enough — not just of the lawlessness, but of the lies that empower it.
