GO to Dungeon Lane today and it’s strange to think it occupies a special place in Paul McCartney’s heart.
Yet it will go down in pop history alongside other street names associated with him, joining Penny Lane and Abbey Road.
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Paul McCartney today in a picture taken by his daughterCredit: Mary McCartneyPaul, left, makes his debut public performance, aged 15, with The Quarrymen, led by John Lennon, right, in 1957Credit: PA:Press AssociationPaul in his early years, aged 8Credit: Alamy
Situated in the Speke neighbourhood of Liverpool, the L24 postal district, a faded road sign sets the tone for its desolate air.
It is bordered on one side by a solar farm business and, on the other, by a fenced-off area of scrubland which separates it from the city’s John Lennon Airport.
Before you get very far, a bright yellow “emergency access gate” bars further exploration.
But, as a child, Dungeon Lane was McCartney’s gateway to a stunning rural idyll where he could escape the hustle and bustle of urban life.
In the Fifties, the lane took him past a daffodil farm to the Oglet Shore on the widest stretch of the River Mersey.
I wonder if young Paul, a keen birdwatcher, ventured into this wilderness clutching his trusty The Observer’s Book Of Birds.
There, he may have spotted any number of waders — curlew, snipe, dunlin, black-tailed godwits.
What we do know is that his lifelong love of our feathered friends began in those days.
This helps explain the compositions dotted through his career such as Blackbird with The Beatles, Single Pigeon with Wings, Two Magpies with The Fireman and solo efforts Jenny Wren and Long Tailed Winter Bird.
To McCartney, his early rambles into the countryside represent humbler, simpler times before The Fab Four exploded on to the scene, before his storied life in the dazzling glare of publicity.
Paul with his dad Jim and brother MikeCredit: GettyPaul’s childhood home at 20 Forthlin RoadCredit: Getty ImagesPaul with mum Mary and younger brother Mike
Sir Paul, 83, has called his 19th solo album The Boys Of Dungeon Lane . . . which is, as he suggests, a trip down memory lane.
He got the title from the lyrics of its first single, Days We Left Behind, released yesterday, a nostalgia-filled acceptance that he has a far longer past than future.
Intimate, beautifully sung with Macca playing acoustic guitar, bass, piano and harmonium himself (how does he do that!?), it is the first taste of a project that has been five years in the making.
“This is very much a memory song for me,” he says. “I was thinking about just that . . . the days I left behind.
“And I do often wonder if I’m just writing about the past — but then I think, how can you write about anything else?”
For McCartney, the song conjures up “a lot of memories of Liverpool. It involves a bit in the middle about John [Lennon] and Forthlin Road which is the street I used to live in. Dungeon Lane is near there.”
Paul was born on June 18, 1942, to his midwife mother Mary and salesman father Jim, and they moved with younger brother Mike to 20, Forthlin Road, Allerton, in the mid-Fifties from Speke, where they had lived since 1947.
We also know that Paul first bumped into John on July 6, 1957, at roughly 4pm, at a garden fete behind St Peter’s Church, Woolton.
In Days We Left Behind, he sings of the bond he formed with the lanky lad 20 months older than him: “We met at Forthlin Road/And wrote a secret code/To never be spoken.”
Continuing his reflection on the song, he says: “I used to live in a place called Speke which is quite working class.
“We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice you didn’t have much.”
As already mentioned, birdwatching was a hobby, one that required little cash and gave him a lot of pleasure “in the nearby woods and fields”.
Sir Paul with his wife NancyCredit: PA:Press AssociationPaul, a keen birdwatcher, owned The Observer’s Book Of BirdsCredit: Alamy
A recent entry in Macca’s Spotify playlists, under the banner Sticking Out Of My Back Pocket, came accompanied by these musings . . .
“My mum had the midwife’s house on the edge of Liverpool, where we lived,” he says.
“It was where Liverpool just stopped and became deep countryside, so that was when I had the opportunity to do quite a bit of birdwatching.”
He particularly cherishes the moment he saw a “skylark rising into the sky, singing its sweet song”.
That unforgettable sight has found its way into Days We Left Behind, with its lines, “In the skies the skylarks rise/Above the sounds of war/Since that day I knew they’d stay/With me for evermore.”
All these decades later, he reflects: “And now because I live part-time on a farm [in Sussex], I’m able to see a lot of birds and I don’t need The Observer’s Book Of Birds quite so much as I did back then.”
McCartney’s new album promises to be one of the most personal, most autobiographical song cycles he’s ever recorded, while also finding room for up-to-date love songs dedicated to third wife Nancy.
Yesterday’s announcement states that it finds him in a “candid, vulnerable and deeply reflective mood, writing with rare openness about his childhood in post-war Liverpool, the resilience of his parents, and early adventures shared with George Harrison and John Lennon”.
I’m guessing here but songs yet to be heard, Momma Gets By and Salesman Saint, appear to be affectionate remembrances of mum Mary, who died when Paul was just 14, and dad Jim.
Sir Paul has called his 19th solo album The Boys Of Dungeon LaneCredit: SuppliedDungeon Lane, now fenced off on both sidesCredit: supplied
This is not the first time Macca has delved into his early years for songwriting inspiration.
I talked to him about the playful On My Way To Work, which appeared on his 2013 album, New.
He called it a “collection of memories all morphed together”, providing a fascinating glimpse into his life before Beatlemania.
“It’s about me going to my first job, before The Beatles took off, which was working on a lorry for a delivery company called Speedy Prompt Deliveries — SPD.”
McCartney described going to work on the council-run green and cream buses which led to him looking at risqué magazines like Parade.
“I’d go on the bus at some unearthly hour of the morning,” he said. “I might buy a magazine and look at the nudies. I was too young to be interested in the news!”
He remembered how hard-up kids like him ripped the fronts off cigarette packets and traded duplicates with their mates, instead of collecting “football cards or, like in America, baseball cards”.
“It was like, ‘I’ll swap you two Craven A for a Woodbine’. Then there were the posh brands because this bus route went from the centre of Liverpool to the outskirts.
“Posh people would be smoking Passing Clouds or Sobranies and packets of those were very prized.”
Another song, Queenie Eye, referenced a childhood street game from “1940s Britain”.
“It’s what we used to get up to before video games and that whole home entertainment thing,” he said.
“Someone would be elected to be ‘the one’ or the ‘queenie eye’. We’d all stand behind that person and he would throw a ball over his head and one of us would catch it and hide.
“Then we would all chant, ‘Queenie eye, queenie eye, who’s got the ball? I haven’t got it. It isn’t in my pocket!’ It was simple entertainment for simple minds but great fun.”
Now it is time to return to the 2020s and the creation of The Boys Of Dungeon Lane, the follow-up to his captivating lockdown album, McCartney III.
This time, we’re told we can expect “Wings-style rock, Beatles- style harmonies and McCartney-style grooves”.
TRACK LIST
As You Lie There
Lost Horizon
Days We Left Behind
Ripples in a Pond
Mountain Top
Down South
We Two
Come Inside
Never Know
Home to Us
Life Can Be Hard
First Star of the Night
Salesman Saint
Momma Gets By
The process began around five years ago when Macca met American live-wire producer Andrew Watt, known for his work with Ozzy Osbourne, Lady Gaga, Post Malone and The Beatles’ greatest Sixties chart rivals, the Rolling Stones.
Watt, I gather, “pulled a guitar” on his latest rock icon, who instantly happened upon a chord he didn’t recognise.
As the story goes, the ever- experimental McCartney changed one note, then another, until he had a three-chord sequence.
That led to his new record’s opening track, As You Lie There, which in turn set the ball rolling for the other 13 songs.
It’s remarkable that, as with McCartney III, he is credited with playing all the instruments himself across the whole thing.
It brings to mind how at ease this enduring music obsessive seemed as he suggested specific drum beats and fills to Ringo Starr in The Beatles’ Get Back documentary.
With Macca still touring and playing momentous shows like his 2022 Glastonbury epic, Days We Left Behind has been honed over half a decade when time permitted.
During that period, he even managed to introduce the Stones to producer Watt, who helmed their 2023 comeback album, Hackney Diamonds.
When McCartney was in Los Angeles working with Watt, he was brought in to play bass on Mick Jagger and Co’s punk blast, Bite My Head Off.
Upon its release, I spoke to Keith Richards who was made up over their special guest.
“Yeah, Macca just strolled in with his bass,” the guitar legend drawled. “I think the song reminded him of those times [in the Sixties]. Beatlemania was equally as bizarre as Stones mania.”
There’s a moment towards the end of Bite My Head Off where you can hear someone saying, “Come on Paul, play something”.
“That might have been me,” smiled Richards.
But this is all about Britain’s greatest living songwriter, Paul McCartney, and his new album The Boys Of Dungeon Lane.
Time is precious but when it comes to music and life, he’s still facing forward at 83 — even if he’s remembering a youth long ago when “in the skies, the skylarks rise”.
I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.
I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”
While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.
Conjuring such a state of anxiety was the point.
“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.
There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.
“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.
For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”
“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.
(Joe Camareno / Theatre Obscura)
Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.
“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.
Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.
Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.
“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.
(Joe Camareno / Theatre Obscura)
And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.
Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.
“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”
Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.
“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.
“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”
Space isn’t a forgiving place to be stuck. There’s no air, no pulling over for directions and no margin for error. When something goes wrong, you’re left with whatever you have on hand for however long you can make it last.
That fear drives the new sci-fi epic “Project Hail Mary,” opening in theaters Friday, with Ryan Gosling as Ryland Grace, a middle school science teacher who wakes up alone on a spacecraft light-years from Earth with no memory of how he got there. Gradually he realizes he’s been sent on a mission to figure out why the sun is dimming and how to stop it. What begins in isolation turns into something closer to a buddy movie, as Grace ends up working with an alien he names Rocky, another traveler trying to solve the same problem.
The film, directed by Phil Lord and Christopher Miller, comes from sci-fi author Andy Weir, whose earlier, similarly survival-themed breakthrough novel “The Martian” was adapted by director Ridley Scott in 2015. That movie put Matt Damon alone on Mars and made the act of thinking through one life-or-death problem after another the engine of the story. The result was a critical and commercial hit that earned seven Oscar nominations, including best picture.
Put someone out in space long enough and the story can go in many directions. Sometimes it’s about survival. Sometimes it turns inward. Sometimes it gets more horrific or even darkly comic. Here are eight of our favorite movies about people lost or stranded in space. Watch them somewhere with plenty of oxygen.
A loving husband and wife desperately want to start a family but struggle with infertility. A mother bears the weight of twin sons who are destined to be at severe odds with one another. Two sisters fall in love with the same man.
These stories may sound like soapy twists in a Taylor Sheridan drama or cable TV movie, but they actually come straight from one of the bestselling books of all time — the Bible.
The sacred text is jam-packed with compelling and highly relatable stories, but Fox’s “The Faithful: Women of the Bible,” a three-part event series, aims the spotlight on the primary matriarchs of the Book of Genesis — Sarah, Hagar, Rebekah, Leah and Rachel. The first installment consists of two episodes airing Sunday, with subsequent double episodes airing over the next two weeks, and begins with the story of Sarah (Minnie Driver), who is regarded as the first matriarch for building the nation of Israel with her husband, Abraham (Jeffrey Donovan), the first patriarch.
“These are three generations of women who passed the baton of what was set in motion by Sarah and Abraham and the episodes are all in a way portraits of different types of marriages,” says René Echevarria, who wrote the first installment and is the series’ showrunner.
However, like the Bible’s many miracles, “The Faithful” coming together in the first place is divine considering executive producing partners Carol Mendelsohn and Julie Weitz were actually not planning to pitch it when they were in a meeting with Fox TV executives on one fateful day.
“The Faithful” begins with the story of Sarah (Minnie Driver) and Abraham.
(Moris Puccio / Fox)
“Julie gave me one instruction, ‘We can talk about all of our projects but do not talk about the Bible,’” recalls Mendelsohn. But then Fox President Michael Thorn asked Mendelsohn what her passion project was and “It was like I was hit by the burning bush!”
So “The Faithful” was pitched and a green light was given for the show. “I guess it was divinely ordered,” Mendelsohn says, laughing.
Crafting a Bible-based event series may initially seem like a stretch for Mendelsohn, known for producing the massively popular “CSI” crime drama franchise and, since partnering with Weitz over a decade ago, contemporary dramas where God wasn’t a part of the story. However, with “The Faithful,” the common thread with their previous projects was very clear. “Everything that we do together comes from characters that we fall deeply in love with and we love to do stories about women,” says Weitz. “We were thinking of doing something in this world when “The Chosen” [the Prime Video series about Jesus Christ] came out and became a huge hit.”
Mendelsohn and Weitz brought Echevarria on board and once they dug into the respective stories of these influential women, “it became clear that we should give two hours to each of these matriarchs and tell that story, which is the genesis of not just Judaism, but Islam and Christianity, the three largest, most prominent religions of mankind,” says Weitz, who is also grateful for Fox’s programming strategy for the episodes. “It worked nicely because they are giving us Sunday Nights leading right through Passover and into Easter so it just made sense to [Fox] too.”
For varying perspectives, the show utilized both Christian and Jewish scholars, which backed up their storytelling objectives, given that these age-old stories traditionally didn’t always flesh out women as much as men, so leaning into an interpretation of text was not taboo. “Our Jewish scholar mentioned, ‘what you’re doing is called midrash, an ancient tradition in Judaism to look at these stories and read between the lines,’” says Echevarria.
That interpretive freedom can be seen in the show’s first installment, which explores Genesis 16 where Sarah, barren for years despite God having told Abraham that she would bear a child in her older age, enlists former Egyptian slave Hagar (Natacha Karam) to sleep with her husband in the hopes she’ll give them a child. Driver says Sarah’s story is one that many women can connect with, but as far as who the real woman was, there’s a lack of true definition. “Who knows what Sarah was like? We don’t know. She doubted and, to some people, she thwarted God, but actually to me, she was just a woman who wanted to have a baby, loved her husband very much and was very strong,” she says.
Natacha Karam plays Egyptian slave Hagar, who bears Abraham’s child.
(Stefano Cristiano Montesi / Fox)
Donovan notes that Sarah suggesting Abraham lie with Hagar in Genesis 16 initially comes across as a straightforward and simple sentence. “But there’s so much to unpack in that one line from the Bible,” he says. “The complex struggles that these three people must have had that people today are still having 4,000 years later? We’re still going, ‘I can’t have a baby. Let’s have her have our baby. But do you like her? Is she better than me?’”
But as much as Sarah’s plight with infertility is relatable, other moments in the story took more work to get there, like the moment where Abraham talks with God. “I can only imagine what it would feel like to speak to God,” Donovan says.
To grapple with that notion before shooting this particular scene, the actor, dressed in his character’s tunic and waiting on the crew to set up, found a spot to sit on under a tree and thought about Abraham’s daily life and how impactful a message from God would be. “He’s a shepherd that got up with the sun and watched his flock and tried to survive,” Donovan says. “‘How do I not die today? How do I feed my family?’ For me to give the respect to the character, that deserves a couple of hours of solace and solitude.” He calls it the most difficult scene in the series for him.
And while the show explores Sarah and Abraham’s marriage, it also dives into the relationship between Sarah and Hagar, which begins when a captive Sarah is freed and she takes slave Hagar with her to give her a better life.
“Hagar finds herself pulled into this story that’s far larger than anything that she could ever have imagined for herself,” says Karam, adding that the two women grow close but conflicts also arise. “Originally, the relationship is defined by hierarchy and necessity and then there’s this complicated dependence that bounds them together for life.”
The actor expressed her satisfaction that the story of Sarah and Hagar is given a positive portrayal since that’s not always been the case. “There are versions of that story that are read through a lens of reprimanding both of these women, which I want to say is shocking but it was actually quite predictable to spin it so that it ends up being, ‘Oh, look what these two women did when they tried to take control,’” she says.
“Hagar finds herself pulled into this story that’s far larger than anything that she could ever have imagined for herself,” says Natacha Karam, left, with Minnie Driver and Jeffrey Donovan.
(Moris Puccio / Fox)
The spin from the cast and crew on the production itself was that with all “The Faithful” episodes filming in the ancient city of Rome, the series benefited from what the city had to offer in terms of scenic authenticity. Also, the unforgiving heat while shooting outdoor scenes wasn’t fun but also wasn’t a total negative, says Driver. “I’ve never been outside in 100-plus degree heat for 10 or 11 hours a day. It was brutal, but it definitely lent to the veracity of the story like where you were so beyond hot and exhausted,” she says. “There’s a generosity of its history that you’re invited in. It was this fever dream, the whole experience of being there.”
And while the Sarah-Abraham-Hagar story fills out the first episode, the March 29 installment continues the drama with the introduction of Rebekah (Alexa Davalos), who marries Sarah and Abraham’s son, Isaac (Tom Mison). Also barren for many years, she eventually receives a message directly from God that she will have twin sons and that her youngest son will one day rule. With the arrival of Esau (Ben Robson), who is born first, and Jacob (Tom Payne), she’s faced with a burden to ensure God’s message stays on course at any cost. “The story becomes about how she almost destroys her family because she’s been told that this is the way, this is the destiny,” says Weitz.
The April 5 finale, airing on Easter Sunday, moves forward as a now-exiled Jacob returns to his hometown and meets two sisters, Leah (Millie Brady) and Rachel (Blu Hunt), and sparks fly. Teases Echevarria, “tonally the episode is a little bit different and it’s a little more scandalous but certainly contemporary.” Adds Weitz, “Jacob falls in love with both of the sisters for different reasons and at different times so it becomes a story about sister rivalry for the love of the same man.”
Love is something audiences have been feeling in recent years for faith-inspired programs, which keeps this three-week event from feeling like a television anomaly. For example, Prime Video’s “The Chosen” has been exploring the life of Jesus Christ (Jonathan Roumie) for five seasons with a sixth season centered on Jesus’ crucifixion coming later this year. Also, on March 27, Prime Video launches the second season of “House of David,” which follows the journey of young shepherd David (Michael Iskander) from slaying a certain giant named Goliath to becoming the king of Israel. And earlier this month, faith-centric streamer the Wonder Project wrapped the first season of its contemporary drama series, “It’s Not Like That,” starring Scott Foley as a widowed minister raising his kids and finding love again. Plus, no Easter holiday would feel right without ABC’s annual broadcast of the 1956 classic film “The Ten Commandments,” airing April 4.
Why is faith TV having a moment now? The appetite for this kind of programming by audiences could reflect the often-bleak world of the 21st century we live in, offers Karam. “These are stories about people who are in the middle of impossible circumstances, who can’t see what the lesson is yet, or whether there’s light on the other side,” she says. “But historically, there always was and there always is [light on the other side] so I think that’s what people are hungry for right now is a framework to make sense of things.”
As long as this hunger continues and audiences show up for “The Faithful,” the producers have a wealth of stories to tell beyond the great matriarchs.
“The difference from a regular TV show is that we do have this extraordinary IP and this different perspective,” says Echevarria. “Our hope is that ours will always be a little different and we’d come at it from a different angle.” Sounds like the faith is definitely being kept.
Public murals are among the best ways to honor our heroes, which is why dozens of murals of civil rights icon Cesar Chavez dot California’s landscape. Those images are now deeply upsetting after shocking revelations published in a recent New York Times investigation that allege Chavez sexually abused girls as young as 12 and raped his fellow labor organizer Dolores Huerta.
According to the nonprofit Travel Santa Ana, the Chavez mural, created in 2008 to commemorate the launch day of the city’s KaBoom playground and Jerome Community Learning Garden, is “one of 30 murals around California that was commissioned by a project commemorating Cesar Chavez, initiated by Maria Shriver and former LA Mayor [Antonio] Villaraigosa.”
That’s 30 from a single project — the total number would be impossible to count. It’s hard to overstate the prominence of Chavez’s legacy in California, where his name and likeness are ubiquitous on the sides of bodegas, in parks, on street signs, on schools and memorialized in statues. He was considered a man of the people, which is why murals, created in unassuming local spaces, seemed especially fitting.
It’s now up to the public that revered him and is now grappling with the pain of his misdeeds to decide what should become of his painted image. California lawmakers announced their intention to rename the upcoming Cesar Chavez holiday “Farmworkers Day,” and that idea could be extended to murals of Chavez. These artworks could be remade to instead celebrate the achievements of the many people — especially the women and girls — who marched and fought for the labor movement.
I expect changes to these murals will come swiftly. A statue of Chavez at Fresno State has already been covered and will soon be removed. Maybe it can be melted down to create something new and uplifting. We can paint over the past, but we should never forget.
I’m Arts editor Jessica Gelt, looking forward to gazing at a mural of Huerta in the very near future.
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The week ahead: A curated calendar
FRIDAY Brokentalkers Through music and dance, the Dublin-based theater company presents “Bellow,” the story of Irish accordionist Danny O’Mahony as he revisits key moments when mentorship, mastery of the craft and preservation of the art form influenced his path. 8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Piano recital with Gilles Vonsattel, solo Camerata Pacifica presents the third program of “Beethoven 32,” a three-year Beethoven cycle in which principal pianist Vonsattel performs all 32 of the composer’s piano sonatas. 7 p.m. Friday. Academy of the West, 1070 Fairway Rd., Santa Barbara. 8 p.m. Sunday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. cameratapacifica.org
Sex, Lies and Harold Pinter Two of the playwright’s darkly comic one-acts, “Party Time” and “The Lover,” are paired. 8 p.m. Fridays and Saturdays; 3 p.m. Sundays, through April 26. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
SATURDAY And the Beat Goes On The Gay Men’s Chorus of Los Angeles performs American classics from R&B, Motown, gospel and musical theater with Emmy Award-winning host and GMCLA alum Melvin Robert and soprano Nicole Heaston. 8 p.m. Saturday; 3:30 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd, Beverly Hills. GMCLA.org
Cirque Kalabanté’s Afrique en Cirque A celebration of African culture featuring acrobatics accompanied live Afro Jazz, percussion and kora. 8 p.m. Saturday. Carpenter Performing Arts Center, CSULB, 6200 E. Atherton St., Long Beach. carpenterarts.org; 3 p.m. Sunday. The Soraya, 18111 Nordhoff Street, Northridge. thesoraya.org
Artist Todd Gray has a show at Perrotin.
(Kyungmi Shin)
Todd Gray A solo exhibition of the artist’s photosculptures, “Portals,” continues his interest in the effects of colonization, the built environment and the natural world. Gray will be in conversation with LACMA chief executive Michael Govan on Tuesday. Opening reception, 6 to 8 p.m. Saturday; conversation, 6:30 p.m. Tuesday; exhibition continues through May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com
Convergence: Contemporary Artists of Armenian Descent More than 20 artists, in work ranging from abstraction to conceptual installations, interrogate the complexities of their cultural identities. Through Aug. 9. Forest Lawn Museum, 1712 S. Glendale Ave., Glendale. museum.forestlawn.com
Esther Chung and Ins Choi in “Kim’s Convenience” at the Ahmanson.
(Dahlia Katz)
Kim’s Convenience Playwright Ins Choi stars in this production of his award-winning comedy drama, about a Korean family-run corner store in Toronto, that inspired the TV series. Directed by Weyni Mengesha. Through April 19. Ahmanson Theatre, 135 N. Grand Avenue, downtown L.A. centertheatregroup.org
‘KPop Demon Hunters’ singalong Bop to the beat of this year’s two-time Oscar-winner — animated feature and original song — at this special Academy screening. 11 a.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Miss Velma in the City of Angels In the “Religion and Ritual” section of the ongoing Art of the West exhibition, this new installation features a custom-made dress worn by the charismatic co-founder of the Universal World Church in Los Angeles. Opens Friday. The Autry, 4700 Western Heritage Way. Griffith Park. theautry.org
Ok, Olympia, Let’s Go! Apollo Dukakis wrote and performs the one-act play “You and Me” alongside Kandis Chappell in a multimedia celebration of his sister, the late Academy Award-winning actress Olympia Dukakis. Playwright and filmmaker Graham Barnard hosts with special invited guests. 8 p.m. Saturday. 3 p.m. Sunday. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Song Of The North Hamid Rahmanian created this multimedia production using shadow puppetry and projected animation to reimagine the Persian epic “Shahnameh” about a fierce heroine and her quest to save her beloved. 2 p.m. Saturday, Sunday and March 28 to 29; 7 p.m. Saturday and March 29. Pasadena Playhouse, 39 S. El Molino Ave. pasadenaplayhouse.org
The exhibition “Turner & Constable” at the Tate in London is featured in a new documentary on the two British painters.
Turner & Constable Laemmle’s “Culture Vulture” series presents this documentary on two of Britain’s finest artists — J.M.W. Turner and John Constable — their rivalry as very different landscape painters and the current exhibition at the Tate in London. Directed by David Bickerstaff. 10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com
Vertigo in Concert Sarah Hicks conducts the Los Angeles Philharmonic performing the Bernard Herrmann score for Alfred Hitchcock’s classical psychological thriller live to screen. 8 p.m. Saturday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
SUNDAY Network The American Cinematheque presents screenwriter Paddy Chayefsky’s prescient 1976 media satire for its 50th anniversary and in tribute to actor Robert Duvall. 7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Yefim Bronfman The pianist performs selections from Schumann, Brahms, Debussy and Beethoven. Rescheduled from Feb. 11. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Geoff Elliott in “Death of a Salesman” at A Noise Within.
(Daniel Reichert)
Death of a Salesman A Noise Within co-artistic director Geoff Elliott steps into the shoes of Arthur Miller’s beleaguered working man. Through April 19. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
Ebell + LA Festival: Powered by Women A free celebration of art, activism and community spirit featuring performances, classes and crafts. 11 a.m. to 4 p.m. The Ebell of Los Angeles, 741 S. Lucerne Blvd. ebellofla.org
Akinsanya Kambon: The Hero Avenges A conversation between the sculptor known for his work inspired by the Black diaspora, African histories and mythologies, and Hammer curator Pablo José Ramírez, plus the premiere of a new eponymous documentary directed by Gabriel Noguez and Sean Rowry and a book signing of the monograph “Akinsanya Kambon: The Hero Avenges.” 2 p.m. Sunday. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu
MONDAY Lang Lang Plays Beethoven The piano virtuoso joins the Pacific Symphony for performances of Beethoven’s “Piano Concerto No. 3” and Egmont Overture, plus Dvořák’s Ninth Symphony, “From the New World.” 8 p.m. Monday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
TUESDAY Gerald Barry’s ‘Salome’ Thomas Adès conducts the L.A. Phil in the U.S. premiere of Barry’s new opera, based on the Oscar Wilde play. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A.laphil.com
WEDNESDAY Alvin Ailey American Dance Theater The illustrious troupe performs two alternating programs as part of its exclusive multiyear Southern California residency under the leadership of new Artist Director Alicia Graf Mack. 7:30 p.m. Wednesday to March 28; 2 p.m. March 28 to 29. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org
THURSDAY Level Up! A trans tween feels like she can only be herself in her virtual world in the Latino Theater Company’s world premiere of a resonant, family-friendly play by Gabriel Rivas Gómez. Directed by Fidel Gómez. Previews through April 3. Opens April 4 and runs through May 3. Los Angeles Theatre Center, 514 S. Spring St., downtown L.A. latinotheaterco.org
Arts Anywhere
BroadwayHD Don’t get out to the theater as much as you’d like? This decade-old streaming service could be a viable supplement to your live theater habit. It offers a nice variety of shows from Broadway and the West End, off-Broadway, plays, musicals and virtually anything in between. BroadwayHD: $20 per month or $200 per year.
“Future Relic: Failures, Disasters, Detours, and How I Made a Career as an Artist” by Daniel Arsham.
(Simon & Schuster)
Future Relic: Failures, Disasters, Detours, and How I Made a Career as an Artist Part memoir, part how-to, contemporary artist Daniel Arsham’s new book shares pragmatic advice on things like how to get a gallery, why you need a great lawyer, how to run a creative business and the importance of building a network of successful people. Bursting onto the scene more than 20 years ago with a bold vision across multiple mediums and accruing an eclectic list of big-name collaborators, including Merce Cunningham, Pharrell Williams, Pokémon, Tiffany & Co. and Cleveland Cavaliers, he quickly found both critical and commercial success. In a 2014 review of the artist’s work, Times contributor Sharon Mizota wrote, “Daniel Arsham’s casts of everyday or recently obsolete objects in sand, volcanic ash or various kinds of rock are like premature fossils, or perhaps eerie premonitions of ruin to come.” At a time when everything in the world is starting to feel obsolete, including us, “Future Relic” could find a place on the bookshelves of many would-be creatives. (Think of it as a companion to Rick Rubin’s “The Creative Act: A Way of Being.”). Authors Equity: 320 pp. $30.
Out of Vienna The acclaimed Berlin-based chamber ensemble Leonkoro Quartet, formed in 2019, has released its stellar debut recording after winning a string of prestigious awards across Europe. An exploration of early 20th-century modernism in the Austrian capital, the album features compositions by Alban Berg, Anton Webern and Erwin Schulhoff. Alpha Classics: Available on CD ($19) or download ($9.25).
— Kevin Crust
Culture news and the SoCal scene
Spring is here, and with it many arts and culture entertainment choices.
McNulty has been extra busy lately and has delivered a series of reviews. Harry Potter fans will enjoy his take on Daniel Radcliffe in Broadway’s “Every Brilliant Thing,” which McNulty calls “an ingenious and touching solo performance piece written by Duncan Macmillan with Jonny Donahoe on the subject of suicide — or more precisely, on the ordinary joys that militate against such a drastic step.”
McNulty also dropped in on the Geffen Playhouse to catch “Dragon Mama,” the second installment in a trilogy written and performed by Sara Porkalob about her Filipina American family. “To be frank, I wasn’t sure I was up for a trilogy on Porkalob’s family history. But after ‘Dragon Mama,’ I can hardly wait for ‘Dragon Baby,’ the third and final segment,” McNulty writes.
Pierre Adeli and Adam J. Jefferis in “The Adding Machine.”
(Bob Turton Photography)
Finally, McNulty checks in with the Actors’ Gang, which is running a production of Elmer Rice’s 1923 expressionist satire, “The Adding Machine.” The story, about “an accountant drone aptly named Mr. Zero who, after losing his job to an adding machine, kills his boss and is sentenced to death,” shares uncomfortable modern-day parallels with the threat to workers currently posed by AI, McNulty writes.
Classical music critic Mark Swed got the scoop on the Los Angeles Philharmonic’s new season — its first without revered music director Gustavo Dudamel. “For the first time in 64 years, the L.A. Phil will be without a music director, and with no one in waiting in the wings. But you may barely notice. In little more than three months, Dudamel, although newly installed as music and artistic director of the New York Philharmonic, will be saying hello once again to his old band at Walt Disney Concert Hall for two weeks of Beethoven,” Swed writes.
Workers install the Francis Bacon 1969 “Three Studies of Lucian Freud” oil painting in the David Geffen Galleries at the Los Angeles County Museum of Art.
(Kayla Bartkowski / Los Angeles Times)
I got to watch workers hang a $142.5-million Francis Bacon triptych on the walls of LACMA’s new David Geffen Galleries. The paintings were gifted to the museum by its late trustee, Elaine Wynn. LACMA’s director, Michael Govan, said that part of her interest in supporting the new building was because she wanted the paintings to eventually belong to the public.
Dance writer Steven Vargas penned an interesting profile of choreographer Jacob Jonas and how his battle with Stage 4 lymphoma deepened his connection to his craft.
The news from the Kennedy Center does not stop coming. Late last week, we learned that President Trump had replaced Kennedy Center president Richard Grenell, who presided over the unfolding chaos at the center for a little over a year, with Matt Floca, the vice president of facilities operations at the center. This week, the Trump-appointed board voted to officially close the venue for two years. Trump had already announced his intentions, so the vote amounted to little more than a rubber stamp.
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Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of Cal State Northridge.
(The Soraya)
The Soraya announced its 2026-27 season, which includes six major debuts: singer and actress Audra McDonald, the Grammy Award-winning Snarky Puppy ensemble, Emmet Cohen’s jazz trio, Dance Theatre of Harlem, the National Symphony Orchestra (which will be roving in the wake of the Kennedy Center closure) and the National Symphony Orchestra of Ukraine. Also arriving at the Soraya, according to a note from its publicist, “Domingo Hindoyan leads the LA Phil and soprano Sonya Yoncheva in the world premiere of a new, LA Phil-commissioned song cycle from Miguel Farias. Farias’ incandescent new work is paired with Barber’s ‘Medea’s Dance of Vengeance’ and Dvořák’s Ninth Symphony.”
The first-ever museum survey of the legendary Chicana artist Ofelia Esparza (“Ofelia Esparza: A Retropective “) at Vincent Price Art Museum has been extended through May — now you have no excuse to not get yourself out to see it.
Created by Ryan Murphy, the drama unveils John (portrayed by Paul Anthony Kelly) and Carolyn’s (Sarah Pidgeon) relationship in the years preceding their tragic deaths on July 16, 1999, after a plane crash.
Episode 8 transports audiences to August 30, 1997, capturing the hours before Princess Diana’s heart-breaking death. The Royal passed away on the 31st after a car accident in Paris.
Carolyn is deeply affected by Princess Diana’s death because she had recently been seated behind her at Gianni Versace’s funeral. She also starts fearing for her own future under public scrutiny, whilst John appears to dismiss her worries, reports the Daily Record.
Viewers have been left heartbroken by the moving episode, with one X user posting: “I’m shattered beyond words this really broke me #lovestory.”
A second contributed: “#lovestory’s last episode might kill me, poor Carolyn,” whilst a third commented: “That was an unpleasant episode #LoveStory.”
And a fourth audience member remarked: “Just finished episode 8 of Love Story and I’m in tears. Those 42 minutes flew by and hit me so deeply I cried my eyes out.”
So when can audiences return to the drama?
How many episodes are left in Love Story Season 1?
As per usual, Love Story will be ready to stream on Disney+ next Friday (March 27). Unfortunately, that episode will be the series finale.
Entitled ‘Search and Recovery’, Episode 9 sees John and Carolyn battling to keep their relationship intact. As we witnessed in the series premiere, the pair will set off on a journey to Hyannis Port, accompanied by Carolyn’s sister Lauren (Sydney Lemmon).
We observed John clarifying that he would be piloting their small aircraft, before the show reverted back to the now-wedded couple’s initial encounter.
If the most recent episode left viewers teary-eyed, we can only image how emotional the responses to the series finale will be.
Love Story: John F Kennedy Jr and Carolyn Bessette ends with Episode 9, landing on Disney+ next Friday, March 27.
The photos currently flooding my social media stream are like a highlight reel of the life of Chicana civil rights icon Dolores Huerta.
The famous 1960s-era black-and-white shot of her looking like a bohemian in sweatshirt and black paints while she holds up a sign proclaiming “HUELGA” in the grape fields of California’s Central Valley.
Chanting at the front of picket lines, strands of gray in her hair, in the 1980s.
Beaming as President Obama awarded her the Presidential Medal of Freedom in 2012 for a lifetime of good work that expanded beyond the United Farm Workers union she co-founded.
What’s especially popular is admirers posting pictures of themselves with her — at protests, during art gallery openings, in classrooms, even dancing. It’s the type of public outpouring one usually sees when a celebrity dies. Sadly, there is grief involved in people sharing their encounters with her right now.
Someone didn’t die. But something did.
Earlier this week, Huerta’s disclosed to the New York Times that fellow Chicano civil rights icon Cesar Chavez raped her during the 1960s. It was part of a story that also interviewed two women who claimed the United Farm Workers co-founder sexually abused them when they were young teens in the 1970s.
One of the posts I saw soon after the story’s publication was an Instagram portrait Maricela Cueva took when the two met a few years ago during a conference in Burbank.
“Standing with Dolores Huerta,” said Cueva, president of the public relations firm VPE Communications, “means honoring her legacy in the farmworker movement as well as the victims who had the courage to come forward and acknowledging the personal sacrifices behind it.”
Former West Covina Mayor Brian Calderón Tabatabei shared on the platform formally known as Twitter a photo of him shaking hands with Huerta in Berkeley at a Working Families Party gathering for elected leaders in 2024, where she joined breakout sessions and listened to the next generation of leaders.
“I look at the folks who posted pictures and we are all children of the movement,” said Tabatabei, who’s also an El Monte High ethnic studies teacher. He kicks off each school year with a shout-out to Huerta. “She lived with that pain so we could be in these spaces. So we don’t have to be quiet.”
Together, the photos stand as a communal family album. It’s a show of love and solidarity to Huerta — but also a challenge to ourselves. Many of us immediately believed the longtime activist not just because of her stature, but because we’re sadly too familiar with the script playing out in real time.
A Latina abused by a trusted, powerful man. A terrible secret kept to not make him look bad and ruin his life. A need for the victim to consistently praise the abuser to others no matter what. A life of service in the form of sacrifice. Eternal grace masking an unimaginable pain.
Her story is the story of too many women I know and you know — and maybe the story of you.
Steely resolve in the face of suffering is not new in the Huerta story. For decades, reporters, activists, historians and others who formed the narrative of Chicano civil rights treated her as a modern-day Mary Magdalene — a woman who found purpose by following a man. Chavez was positioned as the Christlike figure who toiled for all of us at great personal cost and thus anointed the face of the farmworkers movement. Meanwhile, he and others relegated Huerta to sidekick status, both in the trenches and in the public — and the image makers followed his lead.
She found more prominence after his death in 1993, but Chavez’s shadow loomed over her for too long. Huerta became one of Chavez’s fiercest defenders even after revelations about his autocratic ways became public — but what else was she supposed to do when people tied so much of her identity to him?
Through it all, Huerta showed up not just for la causa but for those of others. People in Bakersfield, where Huerta lives, know she’s a supporter of arts and live music — she was seen dancing with family members at a Mardis Gras party just last month, gladly taking photos with well-wishers. I have run into her at my wife’s restaurant in Santa Ana, at movie theaters in Los Angeles, during online fundraisers for museums. My favorite memory is the time we both spoke to students at a high school summer conference. Afterward, the organizers told me her speaking fee was a pittance compared to that of a famous Latina author who demanded $25,000 for an hour-long chat.
That’s why Huerta’s recent revelations hit particularly hard — unlike the long-sainted Chavez, she always seemed more like one of us. Huerta has cycled through the stages of life in the public eye in a way that has seen Latinos relate to her over the decades as our daughter, our sister, our aunt. Our mother, grandmother and now great-grandmother in the winter of her years.
We all know women in one of those roles who suffered the same violations Huerta did. The same dismissals and insults. Who never spoke about their ignominies because they were afraid we wouldn’t be there for them.
Huerta was once one of them.
“I believed that exposing the truth,” Huerta wrote in a short essay, “would hurt the farmworker movement I have spent my entire life fighting for.”
By coming forward now, she’s speaking up for every woman who has kept their abuse private, every woman overlooked in favor of a man, every relative told to keep secrets lest they embarrass the family, every woman attacked for finally speaking up. By posting all those photos of Huerta — by herself, in a crowd, with others — people are publicly and unconsciously saying:
We can do better for the girls and women in our lives. We must do better.
“I have kept this secret long enough,” she concluded in her essay. “My silence ends here.”
May we all hear the Dolores Huertas in our lives. May we finally stand by them.
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Pierre Choderlos de Laclos, the author of “Dangerous Liaisons,” is often credited with “Revenge is a dish best served cold.” Given our aggrieved times, it’s not surprising how many of this year’s new mysteries explore revenge, but these four recent releases are especially notable.
Author Jose Ando
(Yuka Fujisawa)
Jackson Alone By Jose Ando Soho Press; 160 pages; $29
While English translations of Japanese crime novels have increased in the last 20 years, most still focus on a culturally homogeneous, straight, Japanese society. Now comes Jose Ando’s “Jackson Alone,” published in Japan in 2022 andtranslated into English by Kalau Almony, which centers on a mysterious African Japanese massage therapist whose life is upended after his clients and colleagues at a fictional sports conglomerate discover a violent revenge porn featuring someone who looks like him. Despite having no memory of the incident, Jackson joins three other outraged, queer men like him in switching identities to seek out and confront their abusers, who can’t seem to tell them apart.
As the quartet’s scheme plays out, this slim novel becomes less a revenge thriller and more a satiric unmasking of Japanese racism and homophobia which spurs “the four Jacksons” to claim their right to exist authentically without the judgment and stereotyping of the hetero, “pure Japanese” gaze. This bold debut earned “Jackson Alone” wide praise and Japan’s Bungei Prize, awarded to first-time novelists, and makes Ando, now in his early 30s, a writer to watch. (The author’s answers to the following questions were translated by Almony.)
Why was it important for you to tell the stories of queer African Japanese men in your novel?
The primary reason was that those characters never really showed up in Japanese literature, and even when they did, they’d be reshaped into something that was easily digestible for the majority. Before I became an author, I would get irritated whenever I encountered that sort of representation. I wrote “Jackson Alone” to submit to a competition for new writers. In my head, it felt like Jackson and the other characters were there the whole time hollering, “Hurry up and get us out there!”
While there are some frank sex scenes in the novel, what shocked me was how dehumanizing encounters with many “pure Japanese” were for Jackson and his friends. Why were those scenes important to the story?
Living as a minority, you often get questions along the lines of, “What kind of painful things have you experienced?” Right? When you’re asked something like that, don’t you always want to shoot back, “Before you ask me about my experience, why don’t you tell me what you’ve done?” Victimization doesn’t just happen because a person from a minority group is standing around, there’s almost always a perpetrator. The different kinds of dehumanization I wrote about in this book are based on the sorts of things I experience almost every day.
In terms of novels I’ve read, there’s “Out”by Natsuo Kirino and the works ofMieko Kawakami. My direct inspiration though comes mostly from my own life.
Author Caroline Glenn
(William Morrow)
Cruelty Free By Caroline Glenn William Morrow; 320 pages; $30
In Glenn’s fiction debut, Lila Devlin, once one of the most famous actresses on the planet, returns to Los Angeles 10 years after the kidnapping and death of her daughter, Josie. The kidnapping caused a media frenzy, which precipitated Devlin’s meme-worthy downward spiral and the end of her marriage to a rising young Hollywood actor. After an “Eat Pray Love” retreat from the spotlight, Devlin is back with Glob, a line of ethical skincare products with a higher purpose: “A way for Josie to live on by applying the principles of self-actualization and inner peace that she learned in India. She wanted to help people heal just as she had.”
But Hollywood has a short memory and most of the people who benefited from Devlin’s meteoric rise and the kidnapping can’t be bothered to help her now. After a meeting with one of them goes horribly wrong, Devlin and her publicist Sylvie, another a victim of Hollywood’s censure, find revenge offers a unique albeit gruesome ingredient for Glob’s products. Although the novel’s flashbacks seem to digress at times, it all clicks into place once Lila starts exacting her increasingly unhinged revenge. “Cruelty-Free” is an edgy journey with razor-sharp observations about fame and revenge. Readers will be looking forward to what comes next for this talented creator.
What inspired your novel?
I love Sondheim’s “Sweeney Todd.” So much. And the core of that story, a man falsely imprisoned for a crime he didn’t commit and eventually driving him insane, is unfortunately pretty evergreen. Other inspirations: the Lindbergh baby, how much I hate true crime media, NYC publicist Lizzie Grubman, cash grab celebrity beauty brands, rich white women going on “Eat Pray Love” trips to Asia, the city of Los Angeles (go Dodgers).
Lila Devlin makes a journey from being a grieving mother to being a villain. How do you keep the reader’s sympathies?
I don’t think the reader’s sympathies are supposed to necessarily stay with Lila. The core of this book, stripping away the weird digressions, is about how society makes monsters. Lila’s career, her body, her entire life was consumed by the world until she was left with nothing, and now she’s holding a mirror back up to it. You can understand where she’s coming from, but after a certain point … she’s gonna hit diminishing returns.
In your thinking, is revenge ever justified?
The point isn’t whether or not it’s justified. It’s whether or not it’ll make you feel better. And it can’t, it’s hollow. Nothing will ever undo the original sin, and devoting your life to ruining someone else’s is a loss for both of you.
Author Leodora Darlington
(YellowBelly Photo)
The Exes By Leodora Darlington William Morrow; 384 pages; $29
This UK fiction editor’s debut centers on Natalie, driven into therapy to get to the root of her blackouts and the murderous impulses toward former boyfriends they may be hiding. But then Natalie meets “the one” — James, her boyishly handsome boss at a London start-up — and becomes even more terrified that the monster inside her may strike again.
In carefully interwoven flashbacks and letters to her exes, readers learn why: Natalie’s disastrous dating histories — and the deaths of her abusive boyfriends — are detailed as well as her early relationship with James and the family trauma she and her younger sister suffered at the hands of a father who they saw abuse, and almost kill, their mother.
But, empathy aside, does any amount of family or romantic trauma justify revenge, even murder? By the time Darlington builds her case for and against Natalie, James and the other characters in this tightly drawn circle, readers will be taken through a number of sometimes shocking reveals that suggest that the family ties that bind can also cut off opportunities for forgiveness. Darlington has crafted a dark, edgy thriller whose engaging protagonist and intriguing psychological insights linger in the mind long after the memory of that last, jaw-dropping twist fades away.
What inspired your novel? “The Exes” began with a title that just popped into my head: “To All the Boys I Killed Before.” I adore the romance genre — I’m a huge fan of tropes, from enemies-to-lovers to fake dating. But that love for romance exists alongside a growing frustration with the rollback of women’s rights globally. That convergence of feelings made me wonder: What kind of girl would write letters to former flames, not out of love, but out of despair?
For much of the novel, readers can’t be sure whether Natalie has murdered her exes in a fit of rage or if something else is at play. How did you draw on this uncertainty to build the reader’s sympathies for the character?
What felt important in drawing readers close to Natalie was letting them see through a window into her past and why she is the way she is. Understanding her as a vulnerable child or anxious teen feels crucial to making sure we’re invested in all of the twists that slam through the second half of the novel. I really do think a great twist requires deep character empathy as much as it does clever plotting.
In your thinking, is revenge ever justified? Yes. Ha! Well, in all seriousness, quite a few characters in this story are pursuing their own revenge plots. I do think it is possible to justify revenge to a jury, but never to oneself. Not in a soul-deep way. The pursuit of revenge takes a spiritual tax on a person that can sometimes cost more than they’ve bargained for, and we see the unraveling effects of that in “The Exes.”
Author W. M. Akers
(Gianna Smorto)
To Kill a Cook By W.M. Akers G.P. Putnam’s Sons; 384 pages; $30
After so much revenge, W.M. Akers has just the palate cleanser in “To Kill a Cook”, a homage to 1970s Manhattan and its fine dining temples. Bernice Black, a sharp-tongued restaurant critic for the Sentinel, a struggling newspaper, is meeting chef Laurent Tirel, her culinary mentor and friend, at his restaurant to plan her fiancé’s birthday party. But Tirel, once lauded as “King of the Butter Boys,” is struggling too. Caviar and truffle prices are skyrocketing, forcing Tirel to cut corners while clinging to his restaurant’s former glory. When Bernie finds the restaurant empty and a veal stock reduced to the consistency of “cold blood,” she thinks Tirel is making an aspic for the party. Instead, she finds Tirel’s head in the refrigerator, suspended in the aspic along with the decorative veggies.
Thus begins an intense romp through New York’s finest restaurants when Bernice — who realizes the NYPD doesn’t know their aspics from a hole in the ground — decides to get the scoop of the decade by finding Tirel’s killer herself. Akers nails 1970s New York’s glitz and grime as Bernie interviews an assortment of renowned chefs, fellow critics, criminals as well as Tirel’s business associates and son, Henri, who also happens to be an old flame. But the pièce de résistance of this delectable mystery is Bernice herself — a bold, brash feminist who’s trying to figure out her sexuality while being honest with the ones she loves. Here’s Bernice replying to an NYPD detective’s accusation that she’s not a lady: “I guess that was supposed to hurt my feelings, but I quit trying to be ladylike sometime around the first grade.” “To Kill a Cook” is a decadent treat, with enough loose ends in Bernice Black’s life and career to leave readers hungry for more.
Why did you decide to set your novel in 1970s Manhattan?
1972 was a key turning point in the history of American fine dining. It’s the moment when old-school French — think white tablecloths, heavy sauces and snooty maitre’d’s — faded into the background, allowing nouvelle cuisine and what we now call New American to take its place. It’s also a moment when exceptional, modern cooking would share a menu with “parsleyed ham in aspic” or something else that today’s diners would consider repulsive. That tension between old and new, and the question of what fine dining would become, drives a lot of the conflict in the book.
How did you research the restaurants you describe so well in the book? Did any of those chefs/restaurateurs inspire Laurent Tirel, the murder victim?
I have a big pile of old cookbooks that inspired a lot of the specific dishes in the book, but the best resource was the New York magazine archives, particularly Gael Greene’s old columns. Bernice Black’s name is a little nod to Greene. And Tirel is very much inspired by Henri Soulé, whose Le Pavillon was the definitive New York restaurant for a generation, and whom Greene wrote about beautifully.
Bernice spends a lot of time trying to perfect a Charlotte Russe for her fiancé. Why that particular dish?
The Charlotte Russe is a specialty of my mother, a former caterer who helped run New York’s Hard Rock Café in the ’70s. It’s the kind of lavish, creamy, boozy party dessert that you don’t see often anymore, and it’s involved enough to offer Bernice a challenge. Julia Child’s got a good recipe in “Mastering the Art of French Cooking,” but I relied on my mom’s recipe, whichreaders can find on my Patreon, and which my mom once cooked for Jacques Pépin!
Woods is abook critic, editor and author of several anthologies and crime novels.
MILAN — Milan’s two first-division soccer teams share a stadium, the majestic San Siro, and the top two spots in the Serie A standings. They each have American owners and fanatically loyal supporters. And both are among the most iconic and successful teams in history.
But that’s where the similarities wane. Because while Inter Milan believes it has a story to tell, AC Milan has locked the doors, drawn the drapes and taken the phone off the hook.
I know this because ahead of last month’s Milan-Cortina Winter Games I reached out to both clubs and asked if they might have some time to visit. AC Milan proved too busy to chat, but Inter Milan invited me to its training center, hidden among farm fields and quiet pastures 45 minutes from the city. Those humble surroundings proved to be at odds with the lofty global reach the team is trying to build.
“I would say it’s leveraging more around Italian history and then the history of the club,” Giorgio Ricci, Inter Milan’s chief revenue officer, said of the image the club is trying to market. “A city like Milano is now a real ambassador of that Italian culture, from lifestyle to design to food and whatever. But we [also] have the authentic history around the foundation of this club. It’s a story not of globalization but of internationalization.
“So there is always this dualism between being very strong[ly] rooted in the city of Milan, in the real core, and having this international attitude. It’s quite a unique and winning combination.”
The Inter in Inter Milan, after all, is short for Internazionale, Italian for international.
“It shall be called Internazionale, because we are brothers of the world,” said Giorgio Muggiani when he helped start the team in 1908. He later lent his talents as an artist and illustrator to the fascist movement of Benito Mussolini.
Inter Milan is in the fifth year of its latest and boldest transition, one that is taking it from being just a soccer club into being a lifestyle and fashion-focused brand, a transition that, as Ricci said, will trade on its history as an international club and its location in one of the fashion capitals of the world.
It’s a model that was pioneered by French club Paris Saint-Germain, which nine years ago began partnering with Dior, Jordan Brand, Levi Strauss and others. Inter has teamed with Italian menswear brand Canali, created a new digital ecosystem that has won it a significant increase in video views and user engagement and has launched non-sporting merchandise such as streetwear accessories to accompany the rebrand.
“We are a football club,” Ricci said. “But in order to grow, we need to become a global football brand.”
And it has begun to do that. Deloitte, the British professional services company which does an annual ranking of soccer club revenues, says Inter brought in more than $620 million in 2024-25, the most recent season for which figures are available. That’s 11th best in the world and a jump of about 70% and eight places from where the club was a decade ago, when it was just the fourth-most-profitable club in Italy.
Inter Milan’s Hakan Calhanoglu celebrates after scoring on a penalty shot against Genoa on Feb. 28.
(Marco Luzzani / Getty Images)
In an effort to tell that story and continue that growth, Inter collaborated with Spike Lee on a short film titled “My Name Is My Story,” in which Lee narrated the club’s history and identity, introducing it to a U.S. audience during last summer’s Club World Cup.
Inter isn’t going it alone though. All of Italian football is in the midst of a long-needed overhaul.
A generation ago, Serie A was the best soccer league in the world. It had players like Roberto Baggio, Jurgen Klinsmann, Alessandro Del Piero, Ronaldo, George Weah and Diego Maradona and its wealthy, deep-pocketed owners sent Italian teams to nine Champions League finals between 1989-99.
Since then the league has struggled to market its product globally, lost many of its top players to better pay in other European leagues, found potential revenue streams closed off by aging, crumbling infrastructure, and saw its reputation and credibility damaged by the 2006 Calciopoli scandal, which centered on the manipulation of referee appointments to favor certain clubs.
An influx of U.S.-based owners is helping turn that around. Eight of Serie A’s 20 teams have American owners and Ricci says they have not only brought much-needed investment to the league but they’ve brought ideas on how to market Italian soccer.
“Some are only bringing money, yeah. Others are bringing also a vision and an ambition,” Ricci said. “Our ownership is exactly bringing that. Bringing the North American culture of not seeing only constraints and barriers in the development of a project [but] having the ambition, far-sighted[ness] and working on building a dream.
“That is exactly what Serie A needs: a bit of a dream and a bit of a vision to dare a bit more and not be too conservative. We need a few leading and having vision and bringing that dream.”
A big part of that dream and vision in Milan is a new stadium, one that will replace the century-old San Siro with a 71,500-seat arena at the center of a $1.4-billion urban-regeneration plan funded primarily by RedBird Capital, AC Milan’s New York-based owner, and Oaktree Capital Management, the Los Angeles-based company that owns Inter Milan.
For Inter Milan that investment, the club hopes, will transform the game-day experience not just for well-heeled corporate types but for the team’s diehard fans. I’m still waiting to hear what AC Milan’s plans are.
“I’m not only talking about corporate clients and things like that,” Ricci said. “That, of course, will benefit from a new state-of-the-art venue with the facilities, restaurants, whatever. But also for general [admission]. As soon as they step into a new venue with better seats, in terms of sound, in terms of video, audio and all the entertainment, we are going to increase the perception of each kind of spectator you have in the venue.”
Is it a gamble? Sure, but then very few things in sports are a sure bet. Yet for Inter Milan, at least, that vision and the story behind it are worth telling.
⚽ You have read the latest installment of On Soccer with Kevin Baxter. The weekly column takes you behind the scenes and shines a spotlight on unique stories. Listen to Baxter on this week’s episode of the “Corner of the Galaxy” podcast.
If David Nihill was a philosopher, his credo might be “I digress, therefore I am.”
Instead, Nihill is a comedian. Kind of. “I don’t know if I think of myself in those terms,” says Nihill, whose “Cultural Appreciation” special has 2.5 million views on YouTube. “I wouldn’t even call mine comedy specials.”
Nihill is a conversational storyteller who rarely even moves on stage. “I don’t know how to do performance,” he says, “but I do know how to talk.”
His current show, “Taking Tangents,” which takes him to Irvine, Pasadena and Los Angeles from March 13 to 17, is a wide-ranging collection of tales, with some material shifting from show to show. We’ll come back to it, but first, a few tangents.
Growing up in Ireland, Nihill, 47, struggled to learn, hampered by dyslexia — “I came in the lowest five percentile in the whole country of Ireland for spelling, and I didn’t even spell my name right on the test” — and an aversion to math. He was made to feel inferior because of his difficulties. “I was 100% in the ‘I am a moron’ category,” he says.
Nihill was shoved into a vocational program and most of his friends dropped out of school. He stayed in, but even when his father offered to buy him a Super Nintendo for certain math scores, Nihill fell short. His father bought it for him anyway, he says, “but I sold it and bought myself a motorcycle even though I was 15 and not legally old enough to drive.”
He finished high school and became a poorly paid, overworked apprentice electrician. That was enough to motivate him to go to college; there, he figured out how his brain worked and how to learn. He even developed a passion for reading: His last show, “Shelf Life,” wove in dozens of book recommendations.
During our conversation via video after a New York show, I’d ask one question, then follow Nihill as he ambled through his personal history. He started with a story about jumping off a cliff in Greece and shattering his leg — a part of “Tangents” — then going to Australia, before he stumbled into a master’s degree studying business back in Ireland (despite botching his application). A new friend there took him to his first-ever comedy show in Glasgow — there are even tangents within his digressions — before getting him a job with Enterprise Ireland, the government’s investment fund to boost Irish business overseas. That landed him in San Francisco, part of the “Cultural Appreciation” special. He left to pursue business opportunities in Mexico but, due to a hurricane, somehow ended up in Chile, spent a year wandering north toward America, and then scored an internship in Colombia.
Nihill is a conversational storyteller who rarely even moves on stage. “I don’t know how to do performance,” he says, “but I do know how to talk.”
(Jim McCambridge)
Eventually, Nihill’s story works its way to his current career, which began by accident. “It was never a dream or a goal,” he says. A friend in San Francisco had suffered a spinal cord injury and Nihill wanted to run a fundraiser, but dreaded public speaking.
That leads to a minor diversion, back to a college public speaking course in which Nihill was so terrified that he got drunk before his presentation and introduced himself “as an exchange student from Southern Yemen.”
In San Francisco, he started doing live comedy to overcome that fear. Meanwhile, his business background led him to see an opportunity and he created FunnyBizz, a company and conference where comedians help teach business leaders, like Kevin Harrington of “As Seen on TV,” how to use humor to communicate. The business bankrolled Nihill’s early days in comedy.
While Nihill has lived in America for years, most recently in Los Angeles, he remains passionately Irish, which shapes his shows in several ways.
In Ireland, “your nature is to just default to funny stories.”
He says American stand-up is about taking a topic and making it funny, aspiring for a five-minute joke-filled late night TV spot. Irish comedians say, “This thing happened to me and I think that’s funny. Let me just repeat it.”
The new show is named after “tangents” so that Nihill can go down different rabbit holes each night if he wants. “My head is always doing 60 different things,” he says, and he loves keeping his storytelling “free form and unfiltered,” whether he’s in a pub or on stage (or, apparently, in an interview).
The new show’s subjects will be familiar to Nihill’s fans: his parents, his foolish behavior (there are drunken college-age antics in a story that somehow eventually weaves in White House press secretary Karoline Leavitt) and Irish culture. “There are few countries that punch above their weight in social justice and social impact,” he says, and he always looks to draw connections with other cultures around the world. But the observations and connections he draws are new.
In New York, he added a bit about how 35% of Jamaicans have some Irish roots, quipping “imagine how fast they’d be without that” (in a nod to legendary sprinters like Usain Bolt). But for Nihill, that joke only works if it’s couched within the larger context of the cross-cultural connections, including the fact that Jamaican-born political activist Marcus Garvey drew upon the Irish independence movement for inspiration.
“There has to be some social value to doing it,” he says, although he’s quick to add his comedy isn’t overtly political. “My dad’s a teacher and that lives inside of me. Humor can be the ultimate tool for social activism. I am deliberately getting people to expand their minds in understanding these connections. I want comedy that makes everyone feel good and maybe learn something.”
Nihill on stage at Hollywood Improv.
(Jim McCambridge)
That “feel good” part is central: While he discusses his mother’s death from cancer last year, he leaves out a beautiful but poignant part of their final days together. “I’m deliberately avoiding that,” he says, because he wants to maintain an upbeat mood.
He digresses to tell me the story, however, and it’s literally longer than this entire article’s word count. “A very long answer to a very short question,” he admits, before swerving into a tale about back when his father had overstayed his visa in New York — it involves his dad being interviewed on CNN, getting into a bar fight and avoiding deportation because the immigration officer hailed from County Cork and Nihill’s dad burst into a song from there, earning him a six-month visa extension. The humanity of that scene “in contrast to a 5-year-old being dragged off to a detention center” may end up in a future Nihill show.
Nihill loves sharing the stories that come from observing and listening to people but says he doesn’t love the spotlight, which, he admits, makes comedy an odd career choice. He says he prefers telling stories to just a few people.
“With comedy, the best part for me is that before a show I eat half a chocolate bar and I leave the other half in the hotel room,” he says. “After the show, I get to finish it. That’s true happiness.”
By Mark Oppenheimer G.P. Putnam’s Sons, 480 pages, $35
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One of the biggest takeaways from the biography “Judy Blume: A Life” may not be in the story itself but in its author. Because of her frank talk about puberty and sexual awakenings, Blume’s work is usually associated with young female readers. Her biographer, Mark Oppenheimer, is a middle-aged father of five.
He says he received minimal pushback on the idea that a man should be allowed to write Blume’s definitive life story. If the whole point of her books is that there should be no shame in body awareness, what service does it do to say only a woman has the authority to write her story? Plus, although her books aren’t selling as well as they used to — who’s are? — Oppenheimer’s biography points out that there are still plenty of parents who will throw a copy of her seminal “Are You There God? It’s Me, Margaret.” at their kids rather than have the menstruation talk or risk any misinformation that may be online.
“No good writer should be ghettoized,” Oppenheimer says during a recent Zoom call with The Times. “If you’re a good writer, you shouldn’t be marketed just to girls or just to boys or just to white people or just to straight people. Good art should be for everyone.”
It is intrinsic and impossible not to parlay Blume’s stories of sibling rivalries, first loves, friends and frenemies, and (most famously) puberty with what was going on in your life when you read them. Books like “Deenie” and “Superfudge” and “Margaret” are also remarkably malleable enough so that, even if a kid picks them up decades after their release or cannot relate with a parallel experience, they can become placeholders and explainers for what must be going on in the minds of their classmates. Last year, TV creator Mara Brock Akil adapted “Forever,” Blume’s 1975 story of the kind of mutually shared devotion that feels like it will last eternally, into a miniseries set in 2018 Los Angeles.
“I think for many of us, Judy’s books are our first crush or our first love and they do hold a special place that no book we read in our world-weary, cynical 40s can hold,” says Oppenheimer.
Some of this can be attributed to time and brain space. Oppenheimer discovered Blume’s work when he was a child. He’s now a parent, with a career and all the other time-sucks that come with adulthood.
“The books I read as a child imprinted on me in a way that books today don’t,” he says. “I probably remember more plot points of the first Judy Blume books that I read than I do of any book I’ve read in the past five years.”
But what of Blume herself? Can America’s mom also be a three-dimensional person who makes her own mistakes? Discovering her four adult novels — especially “Wifey,” a book about a gilded-caged suburban housewife that even Oppenheimer describes as “a very salacious, one might say, smutty, adult novel” that even some of Blume’s collaborators wanted her to publish under a pseudonym — or watching documentaries about her like 2023’s “Judy Blume Forever,” in which she is seen joking about masturbation with employees at her Key West, Fla., bookstore, can seem as evasive and dangerous as reading your mom’s diary.
Author Mark Oppenheimer
(Lu Arie)
There have been other books about Blume and her work, most notably Rachelle Bergstein’s 2024 deep-dive “The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us.” But Oppenheimer’s biography is a more straightforward tracing of Blume’s life and career. He starts with her childhood when she was encouraged to read Philip Roth at home and went to sleepovers at friends’ houses that were more about body awakenings. He discusses her stifling first marriage, which gave her the last name she carries with her to this day and her two children but is also where she hung her college diploma and another award over her washing machine as reminders of her intellect. There’s talk of her second marriage, which Blume has always been reluctant to discuss, as well as the two abortions that resulted from it. And there are details on her life with her third husband, the polymath George Cooper.
Oppenheimer relied on past news stories about Blume, as well as a collection of her work and professional correspondences that are archived at Yale’s Beinecke Rare Book & Manuscript Library and, probably most informatively, his own interviews with Blume and her friends and family. (Although Blume did agree to speak with Oppenheimer for his book, she declined our request to interview her for this story about that book).
“I think that the difficult subjects are sometimes the ones that make her more relatable,” Oppenheimer says of his subject. “I think most of her fans will find it interesting and admirable that she speaks so candidly about her abortions, about especially her divorce from her first husband, which came as she was getting involved in the [second-wave] women’s movement, about her early same-sex experiences, about masturbation as a girl; these are things we would expect Judy Blume to be candid about.”
Oppenheimer matches how these life events correspond with the ones of Blume’s characters because, for better or for worse, she almost always was an author who wrote what she knew even if her fandom transcended it. What her books lack in character diversity, they make up for in specificity. And that, in turn, also makes them relatable.
“Judy found incredibly compelling human drama in books about the New Jersey suburbs, and that’s a testament to her strength as an artist,” Oppenheimer says.
Writer Judy Blume at her nonprofit bookstore Books and Books on March 26, 2023, in Key West, Fla.
(Mary Martin / Associated Press)
Examining and reexamining Blume’s work as an adult also gave Oppenheimer a better perspective of her writing style. Blume didn’t begin to try to write professionally until she was a married mother of two and some have criticized her work for not being as flowery and polished as others’.
“All of her books tend to take a fairly tight focus on the characters,” Oppenheimer says. “They don’t tend to pull back and look at large societal forces or changes going on in the country or the world. And that’s fine. You know, the same could be said of Jane Austen.”
Perhaps the best example of this is Blume’s own religious foundation. Her most autobiographical novel, “Starring Sally J. Freedman as Herself,” has a protagonist who is paranoid that she sees Adolf Hitler on park benches and whose life is imprinted with stories of a relative who followed her mother into the concentration camps and the neighbors sitting shiva (a time of mourning) for their daughter who got pregnant with her non-Jewish boyfriend. And yet, Oppenheimer notes, Blume is not always immediately thought of as a Jewish writer. Nor have most of her readers been Jewish.
“I think that her Judaism is there, if you know where to look,” says Oppenheimer, who spends the early part of his biography looking at how the synagogue and religious community were a normal part of a young Blume’s life. He adds that “she is somebody who speaks really, really well across religious, cultural and racial differences, and that’s partly why she has sold tens of millions of books.”
Oppenheimer acknowledges that Blume’s characters may not be diverse enough by today’s standards; that they don’t usually discuss “gender identities or sexualities; children of multiracial backgrounds; children who have disabilities.” They can also feel like time capsules to other dimensions; his 12-year-old daughter was scandalized by how normative bullying was after she read “Blubber,” Blume’s 1974 novel about tween mean girls and body shaming.
He adds that some of today’s bestselling young adult novels, like Rick Riordan’s Percy Jackson series about a teen demigod or Suzanne Collins’ dystopia-set “Hunger Games” books, are “contemporary realism [that] focus on extraordinary or unusual circumstances.” And while he’s happy for these books’ popularities, he says that some subjects may be better told by kids who also aren’t tasked with saving the world. (I am pretty sure I learned more about male puberty from Blume’s 1971 story “Then Again, Maybe I Won’t,” which is as much about wealth divides and questionable friend choices as it is about a 13-year-old boy’s inner monologues about her awkward adolescence).
“If what you’re looking for is realism that isn’t focused on obvious external differences, but rather on interiority,” Oppenheimer says, “then Judy Blume still remains one of the premier novelists that you would want to read.”
Friedlander is a pop culture and entertainment journalist based in Los Angeles who hates coffee but loves Coke Zero.
Daryl Hannah is no fan of FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette.” She made that abundantly clear in an op-ed for the New York Times that also criticized the series for what she claims is a misogynistic portrayal of her younger self.
“It’s appalling to me that I even have to defend myself against a television show,” Hannah, 65, wrote in the op-ed published Friday. “These are not creative embellishments of personality. They are assertions about conduct — and they are false.”
A representative for FX did not immediately respond to a request for comment Friday.
“Splash” and “Kill Bill” star Hannah, whose romance with Kennedy in the 1990s made for tabloid fodder before his marriage to Bessette, wrote that the Ryan Murphy-produced project depicted her as “irritating, self-absorbed, whiny and inappropriate.” She wrote that the show also depicted her as a cocaine-loving, selfish obstacle in the way of the series’ late lovers. Kennedy and Bessette Kennedy died in a plane crash in 1999.
These creative choices, she claimed, were “no accident.”
Hannah decried her story being used as a “narrative device” to drive tension in the series and as a result, the series fell into “textbook misogyny” by pitting two women — in this case, actor Dree Hemingway’s Daryl Hannah and Sarah Pidgeon’s Carolyn Bessette — against each other.
The actor, also a filmmaker and advocate for environmental and senior health causes, also distanced herself from the series’ “untrue” depictions of her life, behavior, actions and relationship with Kennedy.
“I have never desecrated any family heirloom or intruded upon anyone’s private memorial,” she wrote. “I have never planted any story in the press. I never compared Jacqueline Onassis’ death to a dog’s.”
“Love Story,” created by Connor Hines, premiered in February with Paul Anthony Kelly starring as Kennedy. Hannah wrote that since the show’s debut, she received many “hostile and even threatening” messages from viewers who believe the series’ depictions.
Before Hannah’s op-ed, Murphy received criticism from Jack Schlossberg, the grandson of John F. Kennedy and nephew of John F. Kennedy Jr. In an interview with “CBS News Sunday Morning,” the 33-year-old political commentator said Murphy “knows nothing” about his family and that the prolific TV creator is making a “ton of money on a grotesque display of someone else’s life.”
While she has often chosen not to address “outrageous lies, crappy stories and unflattering characterizations,” Hannah wrote her “silence should not be mistaken for agreement with lies.” She said she felt compelled to speak out against the series’ depiction of her because continuing her “good work,” including her philanthropic efforts, “requires an intact reputation.”
Hannah said she has respected the Kennedy family’s privacy and, like Schlossberg, condemned “self-serving sensationalists trading in gossip, innuendo and speculation.”
“In a digital era, entertainment often becomes collective memory,” she wrote. “Real names are not fictional tools. They belong to real lives.”
The Hollywood Pantages Theatre on Thursday announced its 2026-27 season, which contains a whopping seven L.A. premieres including “Maybe Happy Ending.” The hugely buzzy show about the complicated love between two humanoid helperbots was originally developed and staged in South Korea, and won six Tony Awards last year including musical, direction (Michael Arden), leading actor (Darren Criss) and book and original score (Will Aronson and Hue Park).
An early version of the show was first staged in Seoul in 2015, seven years before the rollout of ChatGPT and the ensuing AI doomsday alarm that platform sparked about the rise of hyper-intelligent robots. It will be interesting to watch “Maybe Happy Ending’s” lead robot characters, Claire and Oliver, contemplate their existence during a time when Elon Musk says his Optimus humanoid robots will be in widespread use by the end of next year.
Five shows will be staged at the Pantages before “Maybe Happy Ending,” starting with the season-opening L.A. premiere of “Water for Elephants.” Based on Sara Gruen’s 2006 novel, this musical about the dramatic life of a traveling circus performer during the Great Depression premiered on Broadway to mixed reviews in 2024 and closed after 300 performances.
Next up: The L.A. premiere of “The Outsiders,” based on S.E. Hinton’s iconic 1967 novel about the conflict between two gangs of disaffected youth. The show opened on Broadway in 2024 and was nominated for 11 Tony Awards — it ultimately won four including for musical and direction.
After that a new revival of the beloved rock opera “The Who’s Tommy” will take to the stage. Given the show’s 30-plus-year history of destroying audiences (in a good way) with its classic rock grooves, it’s sure to remain a steadfast crowd-pleaser.
Get your dancing shoes on for the L.A. premiere of “Buena Vista Social Club,” which was co-produced by John Leguizamo and opened on Broadway last year, garnering 11 Tony nominations and five wins, including a special Tony Award for the Buena Vista Social Club band. Based on the lives of musicians in Havana from the 1950s through the 1990s, and featuring plenty of infectious Latin music presented in Spanish, the show is set to launch its North American tour in Buffalo this fall before making its way to the Pantages.
The L.A. premiere of “Operation Mincemeat: A New Musical” is up next. The World War II-themed comedy about a British plan of deception premiered on Broadway last year and was nominated for four Tonys including musical.
Rounding out the L.A. premieres are a lavish production of “The Great Gatsby” and the season closer, “Death Becomes Her,” both of which are based on hot properties with plenty of audience recognition.
If you’re looking for a classic, fear not: “Hamilton” and “The Lion King” are returning next season to do what they do best: Thrill audiences and sell out shows.
I’m Arts editor Jessica Gelt contemplating a season pass. Here’s your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY From John Doe to Lonesome Rhodes: Anti-fascism From the Archive A double bill of “Arch of Triumph” (1948), a tragic romance set in 1938 Paris starring Ingrid Bergman, Charles Boyer and Charles Laughton, and “Voice in the Wind” (1944), a low-budget B-movie with Francis Lederer as a persecuted Czech concert pianist, opens this short series of films that were restored by the the UCLA Film & Television Archive. The series continues with Saturday’s pairing of “The Burning Cross” (1947) and “Open Secret” (1948) and “A Face in the Crowd” (1957) on March 20. 7:30 p.m. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
SATURDAY Nuun to Midnight A 37-film, 12-hour festival that merges music and visual arts serves as a fundraiser for curated arts presenter Middle Ear Project. Noon-midnight. Automata Theater, 504 Chung King Road, Chinatown. automatala.org
Sarah Davachi + Robert Takahashi Novak: New Commissions The Broad lobby’s unique characteristics will be utilized to create a deep listening experience for newly commissioned compositions by electroacoustic and minimalist organist Davachi and conceptual sound and contemporary electronic music artist Novak. 8 p.m. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
The Great Wall of Los Angeles Judy Baca’s iconic mural inspired Gustavo Dudamel and Gabriela Ortiz to gather composers Juhi Bansal, Nicolás Lell Benavides, Viet Cuong, Estevan Olmos, Xavier Muzik and Nina Shekhar for this salute to the city, augmented by a video installation created director Alejandro González Iñárritu and cinematographer Emmanuel “Chivo” Lubezki. 2 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Alexander Malofeev The young Russian pianist performs a program featuring works by Sibelius, Grieg, Rautavaara, Scriabin, Stravinsky, Arthur Lourié and Prokofiev. 7:30 p.m. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
The Opera Buffs Emerging musical artists from Southern California perform six mini-operas. 8 p.m. Saturday and Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Wild Up The orchestral collective Wild Up performs “The Odes,” a program highlighting experimentation across the ages, featuring works by French Baroque composer Jean-Féry Rebel, English dramatist Henry Purcell and Soviet modern polystylist Alfred Schnittke, as well as modern artists. The group will be joined by guest vocalist and composer Julia Holter, students from the Herb Alpert School of Music at CalArts and special guests. 8 p.m. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
TUESDAY Beetlejuice The Broadway musical based on Tim Burton’s 1988 horror-comedy makes a local stop on its national tour. Through March 22. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
Malice: Stories of Injustice The Odyssey, in partnering with Mar Vista Voice and West Los Respuesta Rapida, presents a program of monologues based on the true stories of families and communities impacted by ICE, with proceeds benefiting the two charities. 8 p.m. Tuesday (in English) and Wednesday (in Spanish). Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
The Rilke Project Piano Spheres presents pianist Vicki Ray performing works by Bernstein, Ives and Eötvös, as well as pieces from Los Angeles-based composers Steuart Liebig, Andrew Tholl, Joseph Pereira and David Rhodes, and the poetry of Rainer Maria Rilke. 8 p.m. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org
Six The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII. 7:30 p.m. Tuesday-March 13; 2 p.m. Saturday. Segerstrom Center for the Arts, 300 Town Center Drive, Costa Mesa. scfta.org
THURSDAY Turning Points Guest conductor Dinis Sousa leads the Los Angeles Chamber Orchestra in Huang Ruo’s “Tipping Point,” Schumann’s “Violin Concerto” with solo violinist Isabelle Faust, and Mendelssohn’s “Symphony No. 4,” a.k.a. the “Italian.” 7:30 p.m. Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills; 7:30 p.m. March 6. Colburn School, Zipper Hall, 220 S. Grand Ave., downtown L.A. laco.org
Arts anywhere
Kevin Kline and Laura Linney in the series “American Classic” on MGM+.
(David Giesbrecht/MGM+)
American Classic The limited series (eight 30-minute episodes) stars Kevin Kline as an out-of-control Broadway star who returns to his Pennsylvania hometown. Featuring a fine supporting cast that includes Laura Linney, Jon Tenney, Tony Shalhoub and Len Cariou, Times TV critic Robert Lloyd calls the show “a love letter to theater, community and community theater.” Streaming on MGM+ (free 7-day trial available).
KUSC Local classical music fans know very well the treasure we have in Classical KUSC, one of the few all-classical music stations left on the planet. And, indeed, people from all over the world listen online. But what if you’re just “classical curious” and don’t know where to start? With round-the-clock programming, multiple specialized streaming channels devoted to movie scores, seasonal sounds and more, plus live concerts and knowledgeable hosts, this is the place for enjoyment, enlightenment and education. And remember, it’s listener-supported! If you can afford to give, please do. Listen at 98.7 FM and stream at kusc.org
The jacket of the book “True Color” by Kory Stamper.
(Knopf)
True Color Kory Stamper chronicles the life of I. H. Godlove, an eccentric scientist who infused the midcentury Merriam-Webster dictionary with a shockingly kaleidoscopic array of colors using only words. The worlds of color science, color psychology and color production provide a vivid backdrop for a journey across the 20th century. Knopf (March 31 release): 320 pp. $32
Culture news and the SoCal scene
People gather outside for pre-show drinks before Public Assembly theater’s show at the Women’s Twentieth Century Club on Thursday, Jan. 29, 2026, in Los Angeles.
(Carlin Stiehl / For The Times)
The roving company Public Assembly Theatre, which develops three one-act plays monthly in unconventional L.A. spaces, got an up-close look via a fascinating story by freelancer Emma Madden. Madden spent the better part of a month tracking the development process, read-throughs and final show, and tells the story of a tiny company that is making major waves with a Hollywood-weary crowd.
Freelancer Solvej Schou tells the difficult but ultimately uplifting story of an Altadena shop owner who closed twice during the last year: Once because of the Eaton fire, and again because of heavy flooding the following year. In the wake of all the trauma, the owner, Adriana Molina, hired a local muralist to paint a colorful outdoor mural of Altadena as a way to boost morale in the neighborhood.
Dalia Stasevska, a Ukranian-born conductor who is making her L.A. Opera debut with Philip Glass’ “Akhnaten,” poses for a portrait at the Dorothy Chandler Pavilion.
(David Butow / For the Times)
The Ukrainian-born conductor Dalia Stasevska made her L.A. Opera debut last weekend, conducting Philip Glass’ opera “Akhnaten,” which runs through late March. Times freelancer Tim Greiving sat down with Stasevska to write an in-depth profile that delves into her early love of opera and classical music as well as her efforts to raise money for humanitarian aid in Ukraine.
Malia Mendez got the skinny on a Christie’s auction in New York that features the $1-billion guitar collection of the late businessman Jim Irsay. Items on the block included Kurt Cobain’s 1969 Fender Mustang and the Beatles drum head from the band’s legendary appearance on “The Ed Sullivan show.”
Artist Ulysses Jenkins is photographed at his studio in Inglewood on Tuesday, March 8, 2022.
(Christina House/Los Angeles Times)
Mendez also penned a lovely obituary for Ulysses Jenkins, a pioneer of Black experimental video who died last month at the age of 79.
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Chiura Obata, “Full Moon, Pasadena, California,” (1930) Verso, Asian American art
(The Huntington Library, Art Museum, and Botanical Gardens, Gift of the Obata Family)
The new theme for the fourth edition of the Getty’s PST ART has been announced. The 2030 survey will explore “the artistic and cultural exchange between Los Angeles and the Pacific Rim,” according to a news release. PST ART launched in 2011 and has since established itself as one of the region’s most timely and expansive art showcases — with participation from every corner of Southern California.
“PST ART is now an established and central part of Southern California’s cultural landscape, with each edition exploring key aspects of our past, present, and possible futures,” said Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, in a statement. “With our large diasporic communities from around the Pacific Rim, Los Angeles is the perfect place to explore the far-reaching and varied impact of transpacific culture.”
The saga of “A Court of Thorns and Roses” will continue.
Author Sarah J. Maas announced on Alex Cooper’s “Call Her Daddy” podcast Wednesday that two new books will be released in the hugely popular romantasy series, ending a five-year drought since the fifth installment, “A Court of Silver Flames.” The sixth book will be published on Oct. 27, 2026, and the seventh on Jan. 12, 2027.
“It took me a while to find the right story and to be in the right headspace. And then, like what poured out of me was this and it poured out very quickly,” the author told Cooper. “The story that was finally ready to come out of me was big. Really, really big.”
Maas first teased the sixth book on Instagram in July, with the caption “First drafts DONE” on a video that drew nearly a million likes.
Maas did not share details about the book titles, cover art or whose point of view the stories will follow, but did mention that the character’s perspective was “one of the surprising things” for her while writing.
On Instagram, Maas thanked her fans for their patience, passion and “never letting the world fade.”
“I know how long you’ve waited. I know how much these characters mean to you. And I also know these stories deserve more than speed and deadlines. They deserve my best self. They deserve the right moment,” Maas wrote. “I’m so honored by the way you guys have always embraced Prythian as your own. I truly hope it feels like coming home for you like it did for me.”
The first installment of the “A Court of Thorns and Roses” series was released in 2015, but the franchise gained popularity on BookTok — a TikTok subcommunity dedicated to literature — during the COVID-19 pandemic. The books follow Feyre Archeron in the faerie lands of Prythian and her love story with the High Lord of the Night Court, Rhysand.
Maas has sold more than 70 million English copies between her interconnected “Throne of Glass,” “A Court of Thorns and Roses” and “Crescent City” series, according to her website. Maas is a major player in the romantasy — a portmanteau of romance and fantasy — genre, which has soared in popularity on TikTok.
“This is going to sound silly, and you probably won’t believe me, but just talking about things like legacy is beyond for me,” Maas told Cooper. “I’m still very much that girl in middle school or high school sneaking off to watch anime or drool over Legolas and getting to go play in these worlds in my head and do the thing that makes me come alive every day, that’s incredible.”
As a child in Newark, N.J., Narciso Rodriguez was often transported back to Cuba by the stories from his family and their friends. He walked the halls of El Encanto, a Havana department store and fashion mecca on the island — one that drew in celebrity clientele and featured haute-couture designs and fragrances from the far-flung fashion capitals of Paris and Milan.
“I don’t know that they could have afforded any of those things when they were in Cuba,” he tells De Los. “But they certainly filled my imagination with beautiful stories and laid the foundation for my work.”
It was the women in his life — the “amazing, powerful, loud, colorful dynamos,” as he describes them — who inspired him to pursue a career in fashion.
“Their stories, their lives, their power, their curves, it all influenced me,” he says. “They’re the reason I wanted to create things.”
Over the last three decades, the renowned designer has earned a reputation for sleek, flattering lines and effortless shapes, most famously seen on the career-launching dress he designed for his friend Carolyn Bessette-Kennedy to wear on her wedding day. The bias-cut silk slip has remained a source of inspiration for generations of brides since, and has been making waves again thanks to the FX series “Love Story: John F. Kennedy Jr. and Carolyn Bessette.”
Omari K. Chancellor as Gordon Henderson, from left, Sarah Pidgeon as Carolyn Bessette, Tonatiuh as Narciso Rodriguez in FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette”
(Eric Liebowitz / FX)
“Love Story” will follow the couple’s wedding in the latest episode, out March 5. (Rodriguez is portrayed by Tonatiuh on the show.)
After designing Bessette-Kennedy’s dress, Rodriguez launched his own label and a fragrance line, and has continued to create designs that are woven into the fabric of American history — Michelle Obama wore his dress on election night in 2008.
De Los spoke with Rodriguez about his career, upbringing and memories of designing Bessette-Kennedy’s dress.
You’ve spoken about how inspired you were by the women in your life growing up. Are there any “fashion icons” from your family or neighborhood that you could point to from your childhood?
You know, I’m so lucky because I was raised in a very Cuban household in a very culturally rich community in Newark. I mean, it was Italian, Spanish, Cuban, Puerto Rican, Black. It was everything. But I always think back to when I was very, very young, there was a kind of matriarch here in the neighborhood. Her name was Concha and she was kind of this lightning rod. My dad’s sister was married to her son, so when my parents came to the U.S., she gave them a place to stay. She would teach all of the young women how to cook and gave everyone a place to stay until they got on their feet. She was larger than life, she was like “Auntie Mame.” She had these great ‘60s beehive wigs in amazing wig boxes, she made these beautiful Chanel suits for herself, and had all these gold bangles, great lipstick and stilettos. When she came into the room, she just radiated power, joy and style. I always think of her as being my first signpost on the road.
They were all beautiful, you know? My aunts and my mom were the most beautiful, glamorous women. None of them were wearing designer clothes, but they took great pride and great care in how they looked, and that really made an impression on me.
How did that impression translate into a concrete passion? How did you go about actually pursuing a career in fashion?
I loved architecture. I loved building things, so I was always drawing, sketching and sculpting. Then I would see my mom take a piece of fabric and the way she could take something flat and shapeless and turn it into a garment was fascinating. By the time I was 13, I was doing fashion illustration, and I got a job in a tailor shop. Later, I enrolled myself in Saturday courses at Parsons [School of Design], and I kind of had to hide it from my parents at first. I felt like I couldn’t be a fashion designer, you know, because of the whole “macho” idea, but I just kept going. I was lucky that I was someone who always knew what they wanted to do, and that Parsons recognized I had talent for it at a young age.
I was exposed to really great people there, too. Donna Karan was a critic, Calvin Klein was a critic, Oscar de la Renta too. I got to do projects with all of them, and then I was hired after school by Donna Karan while she was still at Anne Klein. It was an amazing experience, and then I got poached by Calvin Klein, which was a very different experience.
How so?
It was incredible, but just very different. Whereas Anne Klein was this melting pot of creativity, Calvin was much more image-driven and precision-driven. He brought in great talents to collaborate with, so on any given day, you’d be working with the most amazing photographers, stylists and art directors. It was a really great finishing school as a young person.
You arrived at Calvin Klein during a period of reinvention for the brand. This was in the era of Kate Moss, and the famous “Marky Mark” print ads. We see a version of it in “Love Story,” but what was it like to actually be there?
When I got there, I think around 1989, it hadn’t really started to change yet. And I thought, “Wow, I made a really big mistake. This is not my aesthetic, not my thing.” But it changed very quickly, and it was very exciting. [Calvin] worked very hard. He was very focused, and he appreciated that I could keep up. Like everybody, there was a rough initiation period, but afterward, he gave me the opportunity to work on some tailored pieces that sold really well at retail, so I was rewarded with more opportunities.
But it was the ‘90s, and it was New York, and it was brilliant. It felt like the whole city was reinventing itself, and Calvin was a leader in that. All the best photographers, the most brilliant artists were there. Jacky Marshall, Zack Carr, Carolyn — the talent was endless. I was really fortunate to experience it and build friendships that were lifelong.
I’m curious if you remember your first impressions of Carolyn. How did you two connect?
We were quite friendly immediately, and then we became the best of friends. We lived in the same building, so the rest was history. You know, she’s an incredible person, and she had great style. She was bigger than life.
Carolyn has been regarded as a fashion icon, and especially now, everyone is trying to re–create her look. There was something more subtle and interesting going on than just “minimalist” fashion, so how would you describe what made her style so special?
Carolyn was so authentic in so many ways, and I think that she was very pragmatic about her choices. She had a great eye. She knew what worked for her, and she knew how to present herself. She never wanted to be uncomfortable. She was very connected to herself. I think so many people have this relationship to fashion and what they think they should look like based on the ideas they see in a magazine or being sold to you by the industry, and Carolyn never fell into that trap.
I have this conversation often with young designers, with people, with journalists. Today, everything that we see is inauthentic. Celebrities are paid to wear designer clothes. They’re styled by a stylist, and nothing is innate. That is the opposite of Carolyn. She was 100% real.
Narciso Rodriguez in 1997.
(Paolo Roversi)
We have to talk about her wedding dress. If you’re a bride, it’s impossible to look for inspiration without coming across her dress. What was it like to have a friend ask you to create something for such a special, important moment?
You know, until my children were born, Carolyn was the love of my life. We were very close, and she asked me, as you said, to make the dress that she would marry the love of her life in. It was very personal for me. It wasn’t a press event, it was a conversation between two people who were very close. I knew what looked good on her, she knew what looked good on her. I knew that she would never want to be bogged down with trains and lace. It wouldn’t be her.
What was the actual design process like?
It was an effortless collaboration. She came to fittings in Paris, we pulled the neckline down a bit lower, and the dress was born. I added the gloves, the veil and the shoe. It was just magical, and exactly the way it should be. It really made her the focus. You know, she was the one who pointed that out to me about my work. She always said, “You create a frame for a woman’s beauty and personality to shine through.” I’ve always thought that was a really beautiful thing that she gave me, because it’s true. I never want my work to be what you see first. I think the success of that dress is that you see her and her happiness and the purity of it all.
Everything about the wedding, including the dress, had to be kept a secret. Was it a challenge to make sure that no one knew what you were working on?
I was working in Paris, and I got approval from the owner of [Cerruti]. He was discreet about it. I worked with one pattern maker. I had a fit model who was lovely. Nobody knew who it was for. They always asked. But because I was working in Paris, they didn’t really connect me to her. I was also quite cautious when the dress was in work, I remember I had become quite friendly with Azzedine Alaïa. I asked, “Can I take this dress over to you and have you check it out to see what I’m doing?” I went over and he looked at the prototype, and said, “Why don’t you move this seam over the bum by a centimeter. I think it’ll be more flattering.” And I did, because he was the master, and he tortured me to know who it was for, but I never told him. Later, when it was all over the press, he would call and pretend he was a fancy lady looking for a wedding dress for her daughter. [Laughs] He tricked me a few times into believing some of his gags, but he was an amazing person.
It was just a magical time in all of our lives. And then I flew to America with the dress and went to the wedding, and it was that simple. You know, I’ve heard all these amazing stories about how the dress didn’t fit, and I had to sew her into it, and that she was hours late because of it, and none of this is true. But I love that people have made up all these stories.
Maybe the dress on her seems so effortless that people want to invent a way to complicate it.
[Laughs] I really have heard so many crazy stories, but when you look at the pictures, it certainly doesn’t look like it didn’t fit. That’s for sure.
As you mentioned, the dress was all over the press later. How did that moment impact your career?
Well, I went from Paris to my best friend’s wedding, and then I flew home to New York to do a pit stop at my apartment. When I arrived, there was a huge crowd outside the building with news trucks. I kind of walked through the crowd and into the building, and I said to the doorman, “What’s all that about?” And he looked at me, and he said, “They’re here to see you.”
Oh, wow.
It was a very big, kind of scary, unexpected change in my life. I remember going up to my apartment and trying to navigate that when Anna Wintour’s office called and said, “Anna would like for you to come to the Princess [Diana] benefit in Washington.” And I said I couldn’t go, I needed to be back in Paris, I didn’t even have a white shirt. And they said, “It’s Princess Di and Anna Wintour. You’re going. We’ll send you a shirt.” So I went, and I met Princess Diana, and it was really strange to be at such a big event and have so many eyes on me, because I didn’t expect that, and everyone was curious. I remember they were shady journalists trying to sit next to me and get information about where [John and Carolyn] went on their honeymoon. Life changed dramatically, but it brought great attention to the work that I was doing in Paris, and I was able to then go off and start my own business and do my own thing.
I’m sure you had an understanding through Carolyn about what it felt like to be hounded or followed by photographers and press, but did that firsthand experience in New York give you another layer of understanding for what she was going through?
It’s so funny because society today will do anything for that. But it was a very different time, and she was a very private person. I was a very private person. It’s very invasive, and I was kind of stuck in the middle, because while I needed to promote my work and my shows, and sort of be in the press, it wasn’t something that I was very comfortable with. I mean, I love doing the work more than I like the things attached to it. It can be debilitating, and it was difficult for me, but I adjusted, because I could hide behind my work, but as a private citizen, it was more difficult for her.
Narciso Rodriguez.
(Sølve Sundsbø)
You’ve been a part of fashion history on numerous occasions. Michelle Obama frequently wore your designs, but most famously, on election night in 2008, and then during her final appearance as first lady. How does it feel to have been a part of those moments?
It’s hard to put into words. You know, you spend so much time in it, and you have these amazing moments, like designing a dress that became legendary for brides, or getting to dress the first lady, and it wasn’t until COVID that I took a step back. I think about my mother and father coming here to give their son a chance to live out his dreams. And to have been able to sit with my friends on election night and watch her appear in my dress on such a historic moment — the first African American elected president of the United States — words fail. [Michelle Obama] is such an incredible human being who I admire so much, and to have been a part of that night, I feel so lucky.
I don’t talk about my work with my children, but the other day, when they were on the bus headed to school, they told one of their friends, “My dad went to the Obama White House.” They were proud of me. My parents’ dreams came true, and now I get to share that with my children. It’s very special.
It’s really powerful to hear you frame it that way — that these moments mean so much because of your experience being the child of immigrants. How does it feel to be in the midst of a revival right now?
It makes me want to create more. It means a lot to me that people remember these pieces, and that they’re still part of the conversation. But it also means a really great deal to me because I think it’s an important story to tell today. I think it’s important that young people hear that this kind of thing can happen to the children of immigrants, especially as I’m watching all of the horrible things happening to immigrants now.
I could never do what my parents did. When I think about it now, my parents were so much more successful than I could ever be, because they left behind their home for a cold climate, in a place where they couldn’t speak the language, and they really struggled for a long time before I was born. And now, the idea that we’re trying to take that opportunity away from people? It just blows my mind.
My parents faced so many hardships, their life wasn’t easy, but I can’t imagine if they had been put through what immigrants are put through today. I am the “American Dream,” right? I got the chance I got to do the work that I love and succeed because of them. I want that for everyone. I want that to be the world we live in.
Here’s the story…of how a seemingly non-descript home in the San Fernando Valley turned into an L.A. landmark.
The L.A. City Council voted to designate the “Brady Bunch” house as a historic-cultural monument on Wednesday, enshrining the Studio City Midcentury as a piece of the city’s history.
“Long before it became a pop‑culture pilgrimage site and backdrop for countless photo ops, the Brady Bunch House helped shape America’s vision of family life in the late 1960s and early ’70s — especially the idea of a blended family,” said Adrian Scott Fine, president of the L.A. Conservancy. “We’re thrilled to see it now designated as a Historic-Cultural Monument, ensuring the Brady Bunch — and their iconic home — remain part of Los Angeles’ story.”
The Los Angeles Cultural Heritage Commission unanimously voted to recommend the house, located at 11222 Dilling St. in Studio City, as a landmark on Jan. 15. The Planning and Land Use Commission approved the designation a month later, sending final say to the City Council.
“I look forward to seeing this memorialized in the appropriate way as part of San Fernando Valley television history,” Councilmember Adin Nazarian said during the Planning meeting.
The landmark status protects the home from demolition, but doesn’t prohibit it. If the owner ever wants to destroy the home, the Cultural Heritage Commission can delay the process for up to a year to find preservation solutions. The commission also gets more oversight on proposed alterations.
“The Brady Bunch” was filmed in a studio for the entirety of its iconic run from 1969 to 1974. So how does a house that was merely for exterior shots wind up as a landmark?
Through painstaking renovations and a bit of reality TV magic.
The house was built in 1959 by architect Harry M. Londelius, who gave the contemporary ranch a shake roof, cathedral ceilings and heaps of Palos Verdes stone. After starring in the show, the home became a symbol for Southern California’s suburban, single-family charm.
For decades, it was owned by Violet and George McCallister, who bought it for $61,000 in 1973. Once they died, their children sold it in 2018 for $3.5 million — nearly twice the original ask.
The bloated sale price was the result of a bidding war, as offers poured in from TV enthusiasts and celebrities, including ‘N Sync’s Lance Bass. In the end, cable network HGTV emerged as the winner.
The channel had big plans for the property, announcing a $1.9-million remodel that would recreate the interiors exactly how they looked in the show. The entire process was documented in a four-part miniseries titled “A Very Brady Renovation.”
The show featured the actors who played the Brady kids taking sledgehammers to the interiors while “Property Brothers” stars Drew and Jonathan Scott reshaped the living spaces.
An inside look at the “Brady Bunch” house in Studio City.
(Ryan Lahiff for Eklund | Gomes)
The final result was a near picture-perfect replica of the Brady abode: the floating staircase, the groovy orange kitchen counters, even the famous vase destroyed by a stray basketball during a famous episode. (“She always says don’t play ball in the house.”) To make space for the throwback bedrooms, the crew added 2,000 square feet to the rear of the house, as well as a second story — which they hid from the street by lowering the foundation by a foot.
The renovation nearly doubled the square footage, featuring five bedrooms and five bathrooms across more than 5,000 square feet.
After the miniseries, HGTV took a bath on the sale. They flipped it for $3.2 million in 2023 — $300,000 less than they paid for it five years earlier and $2 million less than the asking price.
The house was bought by historic-home enthusiast Tina Trahan and her husband Chris Elbrecht, former chief executive of HBO. It came with a few Brady-themed furniture throw-ins such as a green floral couch and credenza complete with a 3-D printed horse sculpture.
Fans still flock to the house to take photos from the street, but Trahan and Elbrecht opened it to the public for the first time in November, offering a limited run of tours for $275.
For example, in London, children aged between two and 15 that are dressed as a book character get a free 30-minute ride on the London Eye, from March 7 to 10.
And over at Battersea Power Station, there is A Station of Stories festival, which will be a year-long celebration.
As part of the event, this World Book Day weekend there will be a number of events.
Visitors can step into the world of Mr Men Little Miss through interactive activities including a treasure hunt, for example.
There will also be other free creative workshops across the weekend and the chance for kids to meet their favourite book characters.
If you are based in or near Manchester, then you can head off on the Manchester Literature Trail which explores multiple venues across the city and informs participants of Manchester’s literary history.
A map for the trail can be downloaded online.
St. Patrick’s Day, various
St Patrick’s Day falls on March 17 this year and across the week there will be events all over the country.
For example, you could head to the parade in Digbeth, where there will be floats, marching bands and of course, a lot of green.
The parade is taking place on March 15 on Digbeth High Street.
St Patrick’s Day parades will be happening up and down the country around the middle of the monthCredit: Alamy
One of the world’s largest celebrations outside of Ireland will take place in London with a parade starting from Hyde Park Corner at 12pm on March 15.
There will be a free event at Trafalgar Square too, with live Irish music, dancing and food stalls.
In Manchester Irish Festival Parade, which is the biggest outside of London, there will be 30 floats and marching bands, and it will take place on March 15.
Earth Hour, London
For something a little different, head into central London on March 28.
For one hour, in the evening, London will switch off its lights for the World Wildlife Fund’s Earth Hour to raise awareness about the impacts of global warming.
Households can take part too, but it might be your only chance for a year to see the famous sights of London go dark.
Southend City Day celebrates the destination getting a city status in 2022Credit: Alamy
Southend City Day
Southend City Day takes place on March 7 and celebrates Southend getting city status in 2022.
The event will involve a number of performances, workshops and family-friendly activities such as face painting and pig races…
For example, there will be a stage at the top of the high street which will host performances by local dancers and youth music groups.
Fancy seeing something sparkle? In the evening make sure to catch Disco City’s light installations that will stretch across Royal Square and Pier Piazza.
For classic car fans, make your way to City Beach where there will be a lineup of parked classic cars over 25 years old between 11am and 4:30pm.
River Race, London
On March 28, you can head down to the Thames to watch the River Race.
Now this isn’t the Oxford versus Cambridge race (that happens in April), but during this River Race you will see up to 400 teams of eight racing down the river.
The Six Nations is still on and honestly, is there a better excuse to go to the pub?Credit: Alamy
Six Nations, various
The rugby isn’t quite over yet which means you still have time to catch a game with your friends.
Lots of pubs up and down the country show the matches on their TVs, or you could head somewhere like The Old Crown in Digbeth, which has large outdoor screens, a heated garden and live DJs.
If you are in the capital, make your way to Walthamstow’s Big Penny Social – which is supposedly the biggest beer hall in the UK spanning across 2,415sqm.
Entry is free, though you will need to pay for a tipple if you want one from one of the 20 taps of beer on offer…
For something a little more unusual, head to Battersea Barge, where each match is being shown on the lower deck via a large projector.
It is free to attend, though if you do pre-purchase a £1 ticket you can grab a free pint of Camden Hells on arrival.
A number of venues show the matches on large screensCredit: Alamy
National Lottery Open Week, various
Between March 7 and 15 – so spanning both this weekend and next – hundreds of attractions that you usually have to pay entrance to across the UK, are opening for free or less than the usual admission fee.
If you are based down in Cornwall, or perhaps visiting for Mother’s Day weekend, then head to the Eden Project which is slashing its entrance fee.
Or perhaps you’re a history fan? Well, then venture to one of the many English Heritage properties across the UK scrapping entrance fees for the week.
Examples of properties include Audley End House and Gardens and Eltham Palace.
Head to the National Lottery Open Week’s website and enter your postcode to see attractions and destinations near you.
Between March 7 and 15, it is also National Lottery Open Week meaning you can get into a lot of attractions across the country for freeCredit: Alamy
St Piran’s Day Lantern Parade, Cornwall
Have you ever wanted to experience a moment like that scene in Tangled where they are on the lake watching hundreds of lanterns venture into the sky?
Then get down to Helston’s St Piran’s Day Lantern Parade on March 7.
The event begins at 5:30pm with live music at Helston Boating Lake and Coronation Park and then the lantern parade will begin at 6:30pm.
Members of the public including school groups show off their handcrafted lanterns, alongside installations by City of Lights.
In Cornwall, there will be a lantern parade with family activities this monthCredit: Gorsedh Kernow
On The Line: 100 Years of Solidarity and Strikes, Manchester
Launching this month at the People’s History Museum in Manchester is a new exhibition which takes visitors on a journey through a century of industrial relations.
The exhibition begins with the 1926 General Strike and then addresses key moments throughout the past century of communities facing poor working conditions.
It also delves into the impact strike action has on society and will start on March 21.
The House of Pies, a Los Feliz institution, is bustling on a chilly January morning.
It wouldn’t be shocking if some of the patrons here for breakfast were casually chit-chatting about the cultural behemoth that “KPop Demon Hunters” has become. After all, the 2025 animated saga about three music stars fighting otherworldly foes is now the most-watched movie ever on Netflix; “Golden,” its showstopping track, has since become the first Korean pop song to ever win a Grammy.
But for Danya Jimenez, 29, who sits across from me sipping coffee, the reception to the movie she began writing on back in 2020 isn’t entirely surprising, but certainly delayed.
“When we first started working on it, I was like, ‘People are going to be obsessed with this. It’s going to be the best thing ever,’” she recalls. But as several years passed, and she and her writing partner and best friend Hannah McMechan, 30, moved on to other projects. They weren’t sure if “KPop” would ever see the light of day. Production for animation takes time.
It wasn’t until she learned that her Mexican parents were organically aware of the movie that Jimenez considered it could actually live up to the potential she initially had hoped for.
“Without me saying anything, my parents were like, ‘People are talking about this’ — like my dad’s co-workers or my aunt’s friends — that’s when I started to realize, ‘This might be something big,’” she says.
“But never in my life did I think it would be at this scale.”
“KPop Demon Hunters” is now nominated for two Academy Awards: animated feature and original song. And that’s on top of how ubiquitous the characters — Rumi, Mira and Zoey — already are.
“Everyone sends me photos of knockoff ‘KPop Demon Hunters’ dolls from across the border,” Jimenez says laughing. “My friend got me a shirt from Mexicali with the three girls, but they do not look anything like themselves. She even got my name on it, which was awesome.”
After graduating from Loyola Marymount University in 2018, Jimenez and McMechan quickly found their footing in the industry, as well as representation. But it was their still unproduced screenplay, “Luna Likes,” about a Mexican American teenage girl obsessed with the late chef and author Anthony Bourdain, that tangentially put them on the “KPop” path.
“Luna Likes” earned the pair a spot at the prestigious Sundance Screenwriters Lab, where Nicole Perlman, who co-wrote “Guardians of the Galaxy,” served as one of their advisors. Perlman, credited as a production consultant on “KPop,” thought they would be a good fit.
Jimenez didn’t see the connection between her R-rated comedy about a moody Mexican American teen and a PG animated feature set in the world of K-pop music, but the duo still pitched. Their idea more closely resembled an indie dramedy than an epic action flick.
“If [our version of ‘KPop’] were live-action, it would’ve been a million-dollar budget. It was the smallest movie ever. Our big finale was a pool party,” Jimenez says. “We had all of the girls and the boys with instruments, which obviously is not a thing in K-pop, and everyone was making out.”
Even though their original pitch wouldn’t work for the film, Maggie Kang, the co-director and also a co-writer, believed their voices as two young women who were best friends, roommates and creative collaborators could help the movie’s heroines feel more authentic.
“Maggie had already interviewed all of the more established writers, especially older men,” Jimenez says. “She knows the culture. She knew K-pop, she’s an animator. She just needed the girls’ voices to come through, so I think that’s why we got hired.”
Kang confirms this via email: “It’s always great to collaborate with writers who are the actual age of your characters! Hannah and Danya were exactly that,” she says. “They were very helpful in bringing a fresh, young voice to HUNTR/X.”
Neither Jimenez nor McMechan were K-pop fans at the time. As part of their research, they both started watching K-pop videos, but it was McMechan who got “sucked into the K-hole” first. Still, it didn’t take long until the video for BTS’ “Life Goes On” entranced Jimenez.
“K-pop is a river that you fall into, and it just takes you,” Jimenez says. BTS and Got7 are her favorite groups. For McMechan, the ensemble that captivates her most is Stray Kids.
In writing the trio of demon hunters, the co-writers modeled them after themselves. The characters’ propensity for ugly faces, silliness and a bit of grossness too, stems from the portrayals of girlhood and young womanhood that appeal to them. Jimenez, who says she was an angsty teen, most closely identifies with the rebellious Mira.
“I have a monotone vibe,” says Jimenez. “People always think that I’m a bitch just because I have a resting bitch face,” she says. “But as you can see in the movie, Mira cares so much about having everyone be really close. I feel like that’s how I’m with all my friends.”
Characters with strong personalities that are not simplistically likable feel the truest to Jimenez. In “Luna Likes,” the prickly protagonist is directly inspired by her experiences growing up, as well as the bond she shared with her dad over Bourdain’s “Parts Unknown” show.
“There’s a pressure to show that Mexicans are nice people and we’re hard workers. I was like, ‘Let’s make her kind of bitchy and very flawed,’” Jimenez says about Luna. “She’s a teenager in America and she should be given all the same opportunities — and also the forgiveness for being an ass— and [as] selfish at that age as anybody else.”
Hannah McMechan, left, and Danya Jimenez, co-writers of “KPop Demon Hunters,” met in college.
(Carlin Stiehl / For The Times)
Though their upbringings were markedly different, it was their shared comedic sensibilities that connected Jimenez and McMechan when they met in college. The two were close long before deciding to pen stories together. “Having a writing partner is the best. I feel bad for people who don’t have a writing partner, no offense to them,” says Jimenez.
McMechan explains that their writing partnership works because it’s grounded on true friendship. And she believes they would not have gotten this far without each other. While McMechan’s strong suit is looking at the bigger picture, Jimenez finds humor in the details.
“Danya is definitely funnier than me,” says McMechan. “It’s really hard to write comedy in dialogue versus comedy in a situation because if you’re putting the comedy in the dialogue, it can sound so forced and cringey. But she’s really good at making it sound natural but still really funny.”
Though she had been writing stories for herself as a teen, Jimenez didn’t consider it a career path until as a high schooler she watched the romantic comedy “No Strings Attached,” in which Ashton Kutcher plays a production assistant for a TV series.
“He is having a horrible time. But I was so obsessed with movies and TV, and I was like, ‘That looks incredible. I want to be doing what he’s doing,’” she recalls. “And my dad was like, ‘That’s a job.’”
Danya Jimenez grew up in Orange County.
(Carlin Stiehl / For The Times)
As an infant, Jimenez spent some time living in Tijuana, where her parents are from, until the family settled back in San Diego, where she was born. And when she was around 5 years old, Jimenez, an only child, and her parents relocated to Orange County. Until then, Jimenez mostly spoke Spanish, which made for a tricky transition when starting school.
“I knew English, but it just wasn’t a habit,” she recalls. “I would raise my hand and accidentally speak Spanish in class. My teachers would be like, ‘We’re worried about her vocabulary.’ That was always an issue, so it’s really funny that I turned out to be a writer.”
As she points out in her professional bio, it was movies and TV that helped with her English vocabulary, especially the Disney sitcom “Lizzie McGuire.”
Jimenez describes growing up in Orange County with few Latinos around outside of her family as an alienating experience. She admits to feeling great shame for some of her behaviors as a teenager afraid of being treated differently and desperate to fit in.
“I would speak Spanish to my mom like in a corner because I didn’t want everyone else to hear me speak Spanish,” Jimenez confesses. “If my mom pulled up to school to drop me off playing Spanish hits from the ‘80s or banda, I was like, ‘Can you turn it down please?’”
Like a lot of young Latinos, she’s now taking steps to connect with her heritage, and, in a way, atone for those moments where she let what others might think rob her of her pride.
“During the pandemic I cornered my grandma to make all of her recipes again so I could write them down,” she recalls. “Now I have them all written down on a website. Or if my mom corrects me for something that I’m saying in Spanish, I now listen.”
At the risk of angering her, Jimenez describes her mother as a “cool mom,” and compares her to Amy Poehler’s character in “Mean Girls.” Raised in a household without financial struggles, Jimenez doesn’t often relate to stories about Latinos in the U.S. that make it to film and TV. Her hope is to expand Latino storytelling beyond the tropes.
“That’s very important to me, to just tell Latino stories or Mexican stories in a way that’s just authentic to me and hopefully someone else is like, ‘Yes, that’s me,’” she says. “A lot of people have certain expectations for Latino stories that I’m not willing to compromise on.”
Though they still would like to make “Luna Likes” if given the chance, for now, Jimenez and McMechan will continue their rapid ascent.
They’re “goin’ up, up, up” because it is their “moment.” They recently wrapped the Apple TV show “Brothers” starring Matthew McConaughey and Woody Harrelson that filmed in Texas. They are also writing the feature “Attack of the Fifty Foot Woman” for Tim Burton to direct, with Margot Robbie in talks to star.
“I feel like I’ve just been operating in a state of shock for the past, I don’t know how many months since June,” says Jimenez in her signature deadpan affect. “But if I think about it too much, I’d be a nervous wreck.”
Molineux has seen as many Premier League wins in the past five days as it had in the previous 10 months. But through its history, it can’t have seen many more dramatic than this.
Make no mistake, Wolves were well worth the three points here. At 1-1, they pushed for a winner and got their reward, albeit with a slice of luck with the deflection off Joe Gomez.
“This is Liverpool Football Club – never mind this position you’re in, any time you beat them, you’ve got to enjoy the moment,” said Edwards.
“They’re an amazing football club with an amazing manager and loads of great players. So it was a big, big night for us.”
The Wolves head coach joked afterwards that he had injured himself when sprinting down the touchline after his team’s late winner.
“What we’re trying to do is improve,” he added. “We’re trying to build some momentum. We know the position we’re in. I know I’ve lost myself in that moment there. People might think we’re bottom of the league but you saw the energy around this place. You have to enjoy it. We’re trying to turn things around.
“There is a belief that we are going in the right direction. Whatever happens until the end of that 38th game, we’ll just keep fighting.”
With victories against Aston Villa and Liverpool in their past two Premier League games, Wolves are the first bottom-placed side to beat two teams in the top five in a single season since West Brom in 2017-18, and the first to ever do so in consecutive matches.
While Liverpool are fighting for Champions League football, Wolves are fighting against the impossible and sit 11 points from safety with eight games remaining.
This result, in all likelihood, will ultimately have no impact on their future in the Premier League, but Rodrigo Gomes, the scorer of their first goal on Tuesday, is keeping the faith.
“We know we are in a tough position,” he told BBC Sport. “It’s very difficult but we need to keep believing. If it is possible, we need to keep believing.
“Now we need to work, game by game and not think ‘if we win this game or this game, we avoid relegation’. Game by game, working like this every week then maybe – we will see.”
As one Wolves fan told BBC Sport on his way out of Molineux: “It’s crazy how we are where we are in the table.”
For a side and fanbase who have endured plenty this season, this was a night they will not forget in a hurry.
And they get the opportunity to try to do it all again when Liverpool return on Friday in the FA Cup.
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Gina Gershon considers herself a storyteller, first and foremost. When we connect via video call, Gershon admits this is the first interview she’s done since submitting the manuscript for her latest book, “AlphaPussy: How I Survived the Valley and Learned to Love My Boobs.”
“I don’t have my spiel yet!” she warns, inquiring for the first of a few times what I thought of it and whether I enjoyed it. Despite the many decades Gershon has been treading the boards, starring in indie films and Hollywood star vehicles, and stalking the stage as a singer-guitarist, she still really cares about what you think, even if it won’t change her own mind. Perhaps that’s the key to her professional longevity.
“AlphaPussy” is neither a memoir nor a guide to self-betterment, but elements of both feed into Gershon’s stories. Each wittily titled chapter plunges readers into Gershon’s freewheeling 1970s childhood, defiant adolescence, burgeoning performance career and collaborations with some of the biggest names in film (including Sharon Stone, Paul Verhoeven and Tom Cruise). Most of the stories take place in the San Fernando Valley, where young Gershon was discovering weed, mushrooms and rock ‘n’ roll. This is not a titillating tell-all, and all the better for it.
“AlphaPussy” by Gina Gershon
(Akashic Books)
“This book realistically started during COVID,” Gershon explains from her New York home. “I’d told my book agent, a friend, some stories one day when we were drunk, and he kept prodding me to write a book. I was hesitant, though. I’m not a tell-all gal, that’s not my MO.”
She adds, “It was during lockdowns, and I think his mother was sick and he was having a hard time, so when he said, ‘Just write me stories to keep me cheered up,’ I started to write stories in no particular order, whatever bubbled up, because otherwise I figured I’d forget them one day.”
At the same time, Gershon had observed that young women weren’t feeling empowered to advocate for themselves in their personal relationships and workplaces.
“I noticed that especially with younger women friends of mine, they’d tell me about things they were going through on set or with their bosses, and I don’t know if it’s a millennial thing, but I said, ‘Why don’t you just look him in the eye and tell him to stop?’ and there was this sense [for me] of ‘Why can’t you do that? Because if you don’t, you’ll always be prey to these guys.’ ”
She clarifies that she means “annoying” men rather than abusive men.
“I’m not that tough,” admits Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”
In her new book, Gina Gershon recalls the industry vitriol toward her 1995 erotic film “Showgirls.”
(Evelyn Freja / For The Times)
And also to steer herself through well-intended advice, both personal and professional, to follow her instincts.
“Listen, it’s not like I’ve had the most normal career. I’ve done most of my projects despite warnings from other people and from my agents saying, ‘You can’t do this, you’ll ruin your career.’ I’m like, ‘Why? I like this project!’ ”
One of those projects, most infamously, was “Showgirls,” which gets plenty of mentions in the book.
As Gershon recalled, it was 1994, and an astrologer had predicted her major breakout role would arrive in October that year, testing the young actor and her ability to cope with notoriety. Great, thought Gershon, bring it on.
Months later, Gershon was hanging from the ceiling, dressed in bondage gear, reflecting upon her early acting goals to perform Chekhov, portray Medea and stun audiences into silence.
She was on the set of “Showgirls” (or “Survival of the Titties,” as she nicknames it), dressed in one of the many glittering, spangled, flimsy outfits that her character Cristal Connors parades about wearing as a veteran of Vegas striptease. That role, and the vitriol from within the industry toward the movie (a flop turned cult favorite), still stings.
“I was super excited going into ‘Showgirls.’ As I talk about in one of the chapters, it was just very different when I got there. It was a completely different show than I thought I was going to be doing. … I thought it was gonna be one of [director Paul Verhoeven’s] dark Dutch films.”
Realizing that it was something else, to say the least, Gershon pivoted.
“I learned how to deal with an insane environment while keeping focused on what it is that I was trying to achieve with the part, without getting swallowed up by the insanity, which is a valuable lesson, you know? I mean, it’s a good lesson to learn no matter what you’re doing.”
Last year, Gershon watched the movie for the first time in decades.
“I hadn’t seen it in a zillion years, and when I saw it, I understood it a little bit more. It made me feel tense, but I also thought, ‘Oh, interesting.’ Some scenes that I thought shouldn’t have been there and others that absolutely have to be there. I saw it with a different lens.”
She says, “Weirdly, I feel like I’m not supposed to be talking about ‘Showgirls,’ although I think I have five chapters about ‘Showgirls’ [in the book]. I did the ones that I thought were kind of funny and fun and had some sort of growth in it for me.”
Having recently wrapped filming on “an independent film, a trans love story” in Palm Springs, penned a script and midway through writing another, Gershon doesn’t intend on writing another book anytime soon. Still, “there’s so many stories I left out,” she concedes.
“I could write three more books with things, but I really wanted to stay on point with the themes of manipulation, survival, and moving around and being able to stand on your own two feet and know who you are and to have agency over your life, especially as a woman, especially as an actress, especially in this world.”
“I’m not that tough,” says Gina Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”
