France arrive in Cardiff next Sunday with Wales searching for a first Six Nations home win in four years.
The calamitous state of Welsh rugby means the WRU are struggling to sell out their three home games this year, with thousands of tickets still available for next weekend.
Tandy hopes Wales will receive the usual home backing.
“The fans have been amazing support for the team,” said Tandy.
“We know what it means to the boys to play in the Principality Stadium and the fans give them huge belief.”
Whether the Wales head coach will make changes remains to be seen as he balances reacting to an underwhelming display and the need to develop a settled side.
He says there would be no “knee-jerk reaction” and full-back Louis Rees-Zammit appears to have done enough to keep the number 15 jersey.
The former NFL triallist was making his first Six Nations appearance for almost three years and is settling into a new position after switching from the wing.
After a shaky start where he had an early kick charged down, Rees-Zammit settled down and produced one searing second-half break.
“He did well in his first start at 15 in a while for us,” said Tandy.
“In Test match rugby, there’s not much space but I thought he adapted with the aerial battles.
“He’s a big man and lit the game up in moments. It’s looking how we can get more of those moments.”
So maybe one thing for Welsh fans hold onto. There is currently not much more.
Is Netflix’s Cash Queens based on a true story? – The Mirror
Need to know
The new French crime thriller follows five women who take on a daring bank heist
The French drama may seem far-fetched, but it was actually inspired by real events (Image: Netflix )
Everything you need to know about the inspiration behind Netflix’s Cash Queens
Netflix is currently streaming a brand new crime thriller about five women who take on a daring bank robbery, but what’s the inspiration behind the drama? Cash Queens landed on the streaming platform on February 5, with eight episodes ready to binge watch this weekend.
It follows Rosalie (Rebecca Marder), a single mum who learns that she must live on €30 per week in order to pay off her jailed husband’s debts. Struggling for solutions, Rosalie decides to steal €100,000 from the bank where she works as a receptionist.
When her best friend Kim (Zoé Marchal) catches wind of the plan, she gets involved in hopes she can start a massage therapy business with her share. The women go on to recruit three more members for the ‘Cash Queens’ gang and kickstart their heist.
They skilfully disguise themselves as men in order to dodge suspicion, but the heist soon attracts the attention of politicians, the police, and gangsters. It may shock Netflix viewers that this thrilling story is actually based on a real group of female robbers.
According to Tudum, the series was inspired by the Gang des Amazones, five women who robbed seven banks in the South of France in the lates 1980s. They infamously masqueraded as men by wearing wigs and fake moustaches.
Just five days after Philip Glass, one of the world’s most famous and revered living composers, canceled the world premiere of his “Lincoln” symphony at the Kennedy Center, President Trump announced he would close the nation’s premier arts center for two years for major renovations.
The arts world — already spinning from the sweeping changes to the venue that began almost a year ago when Trump fired the board and installed himself as chairman — was gobsmacked by the shocking news. And although the president said in a social media post that the closure was about building a “World Class Bastion of Arts, Music, and Entertainment, far better than it has ever been before,” speculation abounded that the unexpected move was more about saving face.
Embarrassment could have been a factor in the rash decision, but Trump is not a man who appears to be afflicted by that particular emotion, which takes its cue from a certain amount of self-awareness and humility. For this reason, I am venturing another guess about the president’s motive for pulling the rug out from under the storied venue: retribution.
If ungrateful artists don’t want to play at the Kennedy Center, the Kennedy Center will no longer be around for them to use. Take that.
The Kennedy Center was supposed to mark a vainglorious Trump’s ascendance to the pinnacle of cultural cachet, but instead the culturati shunned and humiliated him — refusing to join his party. New York City high society did the same before he was president. It was a pattern both familiar and painful. So Trump, like the man-child he is, took his ball and went home.
In this case, that ball happens to be the complex that serves as the symbolic seat of the nation’s vibrant, messy, questioning, deeply political and hugely alive arts and culture scene. To lose access to this beating heart — and all that it represents — is a grievous loss for our national identity. Its meaning was enshrined in President Kennedy’s vision for the center, and written on its walls, as the realization of a country, “which commands respect throughout the world not only for its strength but for its civilization as well.”
Like many of Trump’s controversial construction projects, the wholesale re-imagining of the Kennedy Center will likely face immediate and lengthy pushback in court. This could mean that it never gets done, and the center remains closed indefinitely. Or we could wake up tomorrow to news that bulldozers have arrived onsite and have begun the process of razing architect Edward Durell Stone’s historic 1971 building — as happened with the East Wing of the White House.
Roma Daravi, the center’s vice president of public relations, wrote in an email that the renovations would include, “Repairing and, where necessary, replacing elements on the exterior of the building to ensure the long-term preservation and integrity of the structure,” as well as getting the building up to code and making fixes to the center’s “HVAC, plumbing, electrical, fire protection, vertical transportation systems, and technical stage systems,” as well as improving parking. She also wrote that the center, which hosts 2 million visitors annually, is working closely with the National Symphony Orchestra, and will “continue to support them with funding at the same level as recent years.”
Nonetheless, the most frightening thing about this new era under Trump is that anything is possible, and we sometimes don’t know exactly what that means until it is far too late.
I’m Arts Editor Jessica Gelt, and here’s your arts and culture news for the week.
On our radar
Yunchan Lim performs next weekend with the L.A. Philharmonic.
(LA Phil)
Dudamel Conducts Beethoven and Lorenz Playwright Jeremy O. Harris reconceptualizes Johann Wolfgang von Goethe’s play “Egmont,” with narration by actor Cate Blanchett and maestro Gustavo Dudamel leading the Los Angeles Philharmonic in Beethoven’s complete incidental music. The evening begins with the world premiere of Ricardo Lorenz’s “Humboldt’s Nature,” inspired by the South American travels of philosopher and naturalist Alexander von Humboldt, followed by 2022 Van Cliburn winner Yunchan Lim performing Robert Schumann’s “Piano Concerto in A minor, Op. 54.” 8 p.m. Thursday; 11 a.m. Feb. 13; 8 p.m. Feb. 14; 2 p.m. Feb. 15. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events
A scan of the face Nes-Hor, an ancient Egyptian priest whose mummy is featured in “Mummies of the World: The Exhibition” at the California ScienceCenter.
(California ScienceCenter)
Mummies of the World The scientific study of naturally and intentionally preserved corpses illuminates the lives of ancient people, past cultures and the present in this exhibition that includes more than 30 real-life mummies. 10 a.m.-5 p.m., through Sept. 7. California ScienceCenter, 700 Exposition Park Drive. californiasciencecenter.org
Ann Noble as “Richard III” at A Noise Within.
(Daniel Reichert)
Richard lll Guillermo Cienfuegos directs this fast-paced reinterpretation of William Shakespeare’s history play, reset in 1970s Britain with Ann Noble in the title role as one of the most fascinating villains ever. Sunday through March 8. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
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The week ahead: A curated calendar
FRIDAY The Abduction from the Seraglio Pacific Opera Project performs its “Star Trek”-themed parody of Mozart’s in L.A. for the first time in a decade. 7:30 p.m. Friday and Saturday; and 3 p.m. Sunday. Thorne Auditorium, Occidental College, 1600 Campus Road. pacificoperaproject.com
Thomas Adès and Yuja Wang Composer Adès leads the L.A. Phil in Tchaikovsky’s “Francesca da Rimini , Op. 32,” the U.S. premiere of William Marsey’s “Man With Limp Wrist” and Adès own work “Aquifer”; and pianist Wang performs Prokofiev’s “Piano Concerto No. 2 in G minor, Op. 16.” 8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Rickie Lee Jones performs Friday and Saturday at the Wallis.
(Amy Harris / invision/ap)
Rickie Lee Jones The singer, musician and songwriter brings her genre-defying vocals, crisscrossing rock, R&B, pop, soul and jazz, to the Wallis for two shows. 7:30 p.m. Friday and Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Laguna Beach Music Festival Violinist Stefan Jackiw is joined by Kevin Ahfat on piano, the Parker Quartet and story artist Xai Yaj for a program featuring Beethoven and Janáček on Friday; and on Saturday, Jackiw, Ahfat and the Parker Quartet, along with clarinetist Yoonah Kim and musicians from the Colburn School perform works by American composers Florence Price, Leonard Bernstein, Eric Nathan and Aaron Copland, conducted by Steven Schick. 8 p.m. Friday; 7 p.m. Saturday. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. philharmonicsociety.org
SATURDAY asses.masses Patrick Blenkarn and Milton Lim’s immersive, eight-hour video game experience — with intermissions, refreshments and a meal included — involves unemployed donkeys demanding that humans surrender their machines and give the animals back their jobs. 1 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Chicano Camera Culture: A Photographic History, 1966 to 2026 The exhibition examines Chicana/o/x lens-based image-making through 150 works by nearly 50 artists. Through Sept. 6. The Cheech, 3581 Mission Inn Ave., Riverside; through July 5. Riverside Art Museum, 3425 Mission Inn Ave. riversideartmuseum.org
Katie Holmes stars in “Hedda Gabler” at the Old Globe Theatre in San Diego.
(Jan Welters)
Hedda Gabler Katie Holmes headlines this new version of Henrik Ibsen’s classic drama adapted by Erin Cressida Wilson and directed by Barry Edelstein. Through March 15. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org
Just Me – Pico Union This concert by the award-winning ensemble Tonality, led by founder and Artistic Director Alexander Lloyd Blake, honors and shares the stories of transgender and non-binary individuals. 7 p.m. Saturday. The Pico Union Project, 1153 Valencia St., Los Angeles. ourtonality.org
Mandy Patinkin in Concert: Being Alive The stage-and-screen star, accompanied by Adam Ben-David on piano, performs Broadway and classic American tunes written by Irving Berlin, Stephen Sondheim, Cole Porter and Harry Chapin. 8 p.m. Saturday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
The orchestral collective Wild Up performs Saturday at the Broad.
(Ian Byers-Gamber)
Wild Up The orchestral collective presents “The Great Learning, Paragraphs 2 and 7” by Cornelius Cardew, a community collaboration with 30 pre-appointed non-musicians. 8 and 10 p.m. Saturday. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
SUNDAY From Fugue to Fantasia: Debussy, Mozart, and More Colburn alum and violinist Blake Pouliot is joined by Jonathan Brown on viola and percussionist Matthew Howard. 4 p.m. Sunday. Thayer Hall, Colburn School, 200 S. Grand Ave., downtown L.A. colburnschool.edu
MONDAY American International Paderewski Piano Competition Twenty-five young professional pianists vie for a $10,000 grand prize named for Ignacy Jan Paderewski, a celebrated European concert pianist and composer, who helped lead Poland’s battle for independence after World War I and later served as the nation’s prime minister. 1 p.m. Monday-Wednesday; 11 a.m. Feb. 13 and 5 p.m. Feb. 14. Murphy Recital Hall, Loyola Marymount University, 1955 Ignatian Circle. paderewskimusicsociety.org
Right in the Eye Jean-François Alcoléa, Fabrice Favriou and Thomas Desmartis play more than 50 instruments in this live concert, designed by Alcoléa, that serves as a soundtrack for 12 silent shorts by pioneering filmmaker Georges Méliès. 7 p.m. Monday. USC Cinematic Arts, Norris Cinema Theatre at the Frank Sinatra Hall, 3507 Trousdale Parkway. https://cinema.usc.edu/events/event.cfm?id=72935
TUESDAY House on Fire The new music trio of Andrew Anderson, Wells Leng and Richard An perform a program of works for pianos, keyboards and other instruments by Tristan Perich, Erin Rogers, Matthias Kranebitter, Yifeng Yvonne Yuan, Erich Barganier, and group members An and Leng 8 p.m. Tuesday. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org
sex, lies and videotape The Los Angeles Film Critics Assn. presents a screening of Steven Soderbergh’s breakout 1989 indie starring James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo with Giacomo in conversation with critic Lael Loewenstein. 7:30 p.m. Tuesday. Egyptian Theatre, 6712 Hollywood Blvd. egyptiantheatre.com
WEDNESDAY Amadeus A new production of Peter Shaffer’s music-infused drama stars Jefferson Mays as Salieri, Sam Clemmett as Mozart and Lauren Worsham as Constanze, with Tony Award winner Darko Tresnjak directing. The Pasadena Conservatory of Music will offer 10-minute Micro Mozart Concerts before every performance Wednesday through March 8. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org
Yefim Bronfman The pianist performs works by Schumann, Brahms, Debussy and Beethoven in a Colburn Celebrity Recital. 8 p.m. Wednesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Here Lies Love Snehal Desai directs an all-new production of the musical about former First Lady of the Philippines Imelda Marcos, with concept, music and lyrics by David Byrne and music by Fatboy Slim and choreography by William Carlos Angulo. Through March 22. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
THURSDAY Intersect Palm Springs Arts + Design Fair Collectors, designers and curators convene in the Coachella Valley to present new work and share ideas with one another and the public. 4-6 p.m. VIP only and 6-8 p.m.Thursday; 11 a.m.-6 p.m. Feb. 13-15; 11 a.m.-5 p.m. ; Feb. 16. Palm Springs Convention Center, 277 N. Avenida Caballeros. intersectpalmsprings.com
Culture news and the SoCal scene
More on the Kennedy Center Times classical music critic Mark Swed weighed in on the Kennedy Center’s closure with a deeply knowledgeable piece about the history of the storied venue, and how it has always been a place marked, and sometimes marred, by politics — just never in this way. “The Kennedy Center proved political from Day 1. Leonard Bernstein was commissioned to write a theatrical piece for the center’s opening in 1971, which turned out to be an irreverent ‘Mass’ — musically, liturgically, culturally and, most assuredly, politically. Most of all it was an unmistakable protest against the Vietnam War. In his own protest, President Nixon stayed home,” Swed writes.
Many nights at the opera Meanwhile, arts and entertainment writer Malia Mendez penned a lovely piece announcing L.A. Opera’s 2026-27 season — the first under its new music director, Domingo Hindoyan, who takes over after longtime leader James Conlon steps down. Fun fact: Hindoyan and soon-to-depart Los Angeles Philharmonic music director Gustavo Dudamel have been friends since their days together in Venezuela’s world-renowned youth orchestra El Sistema.
Mark your calendar On Thursday, Malia scored another exclusive, reporting on LACMA’s announcement that the David Geffen Galleries, the pinnacle of a two-decade campus transformation, will officially open April 19. Museum members will have two weeks of priority access to the galleries, with general admission beginning May 4. It was nearly a decade ago that business magnate David Geffen made a record-high $150-million donation toward the construction of a new museum building to be designed by Pritzker Prize-winning architect Peter Zumthor. The $720-million structure will serve as the new home for LACMA’s permanent collection with 90 exhibition galleries organized thematically rather than by medium or chronology. “It’s kind of a worldview,” LACMA Director and Chief Executive Michael Govan told The Times. “It’s big enough that it can hold the world.”
Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.
(Jason Niedle / TETHOS)
A bloody good time Comedian, musical theater star and “Seinfeld” alum Jason Alexander directed a revival of “Sweeney Todd: The Demon Barber of Fleet Street” at La Mirada Theatre for the Performing Arts, and Times theater critic Charles McNulty was there to catch it. “Alexander’s production of ‘Sweeney Todd’ has breadth and heft, but also intimacy and lightness,” McNulty writes in his review.
New Hammer hires Exciting staffing news arrives from the Hammer Museum at UCLA, which announced two new leadership appointments: Michael Wellen has been named the museum’s new chief curator; and Regan Pro is being brought on in the newly created role of chief of learning, engagement, and research, taking the lead on public programs and community partnerships, as well as K-12, family, and university initiatives. Both new hires will report to museum director Zoë Ryan. Wellen arrives from London’s Tate Modern where he is currently senior curator of international art; and Pro is a longtime arts leader and educator who most recently served as the deputy director of public programs and social impact at the Lucas Museum of Narrative Art.
Alexander Shelley has been named music director of Pacific Symphony.
(Curtis Perry)
Taking the baton Pacific Symphony announced its 2026-27 Classical Series, marking the orchestra’s 48th season, and its first under the leadership of its new artistic and music director, Alexander Shelley. The season’s two opening programs will celebrate the 20th anniversary of the Renée and Henry Segerstrom Concert Hall, and the 40th anniversary of Segerstrom Center for the Arts. The opening night celebration in September features violinist Joshua Bell, after which Shelley will guide the season through a series of classic works, beginning with Mahler’s Second Symphony. A season highlight will be a program called America 250, which celebrates the country’s semiquincentennial and includes work by Leonard Bernstein, Igor Stravinsky and Aaron Copland. Also on the calendar: John Adams’ Pulitzer Prize-winning opera, “Nixon in China,” and a two-week Beethoven Revolution Festival.
Nestled in lower Wharfedale, Hebden village offers stunning walking routes, trolls folklore linked to Hound of Baskervilles, Roman history, and a charming tea room in a former chapel
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Scale Haw Force near Hebden in Wharfedale(Image: Getty Images/Collection Mix: Subjects RF)
Tucked away in the hills of lower Wharfedale lies a hidden treasure brimming with history and spine-tingling stories.
Hebden sits within the Yorkshire Dales National Park’s protected conservation areas – this particular village occupies land where an ancient Bronze Age settlement once stood.
The area boasts stunning walking trails that wind past charming Yorkstone cottages. One notorious route leading to the village passes through a ravine called Trollers Gill.
This now-popular picnic destination harbours a sinister past. Locals once believed the gorge was inhabited by malevolent trolls who would murder humans by hurling boulders at them.
Even more disturbing, the cave at the passage’s end was thought to shelter a wolf-like creature that would slaughter anyone who locked eyes with it, reports Yorkshire Live.
This legend is believed to have inspired Sherlock Holmes creator Arthur Conan Doyle’s celebrated tale The Hound of the Baskervilles, according to Yorkshire Dales.
Romans also established themselves in the vicinity – with 33 silver denarii coins discovered in the surrounding countryside – supporting the theory that Romans inhabited the region between 30 and 170 AD.
Along the village’s main street, you’ll discover something unexpected. Within Hebden Methodist Church, formerly a school, sits a charming tea room.
Outside the Old School Tea Room, the postbox has been painted gold to honour Yorkshire’s Olympic gold medallist – rower Andrew Triggs Hodge. One Trip Advisor user described it as “the perfect pit stop”.
They explained: “We visited the Old School Tea Room while doing a loop walk from Linton, along the river, via Hebden and to Grassington.
“It was about halfway, and we were ready for cake! Lovely, characterful building, inside and out, friendly staff and a great range of cakes. I opted for a raspberry and white chocolate one. Delicious! And all with a really nice cup of Yorkshire tea. I’ll definitely be back!”.
For bird enthusiasts, there’s an impressive array of wildlife worth getting the binoculars out for, including Canada Geese, Teal and Reed Bunting.
Hebden’s more recent past has been shaped by mining. Evidence of this former industry can be spotted along the popular Lead Mining Trail, which begins at Yarnbury to the north of Hebden.
The route takes you through Orefield, one of the principal mines during the Victorian period, and skirts the edge of Hebden.
Famous for its dramatic landscapes, historic cities, hearty food, and rich cultural heritage Yorkshire is just waiting to be explored. Sykes Cottages has a large number of properties to choose from with prices from £31 per night.
You may have read recently how minions of the Trump administration removed an exhibit about slavery from the President’s House in Philadelphia (where George Washington lived, with slaves) as part of its ongoing sop to MAGA sensitivities and campaign to erase history in favor of a fairy tale in which the worst thing Washington ever did was chop down a cherry tree.
The study of history is by nature messy, replete with conflicting interpretations and incomplete puzzles, but it’s what you need to know in order not to repeat it. PBS, lately defunded by conservatives but not disassembled, is among the institutions working to bring it to the people — indeed, the only television outlet seriously devoted to it. (History Channel is just a name.) Premiering Tuesday and continuing weekly is the four-part series “Black and Jewish America: An Interwoven History,” presented by Henry Louis Gates Jr., at the start of what happens to be Black History Month.
Gates, who also hosts the PBS genealogy series “Finding Your Roots,” has presented such documentaries as “Africa’s Great Civilizations” and “Great Migrations: A People on the Move,” has made cameo appearances in HBO’s “Watchmen” series and “The Simpsons.” He teaches at Harvard and is a well-known public figure — a history communicator, scholar and storyteller and a minor TV star the world also knows as “Skip.” Even-tempered and even-handed, he’s a good guide through the minefields of racial history — he keeps you from blowing up. You might find yourself angry at the material, but not with Gates.
“Under the floorboards of Western culture run two streams, continuously,” he says. “One is antisemitism, one is anti-Black racism,” whose purpose here is to explore “the areas of overlap.” They aren’t the only victims of bigotry in American history and modern America; Italians and Irish immigrants had their turn, too. White supremacy, which is very much alive in the land — turn on the news — disdains every people of color. But as people who shared the experience of being “mocked and feared, blamed and banished, envied and imitated,” often allied, sometimes antagonists, theirs is a special case.
Gates has assembled a stimulating, illuminating, maddening, saddening, but often inspiring, story of their relations with the world and one another. (Here and there he reaches a little outside his theme.) At 75, he’s lived through a good slice of the history illuminated here, including “our brief golden age” of the 1960s Civil Rights Movement, and though he structures his series as a pendulum swinging between worse and better news, he scrupulously bookends it in a hopeful mood, with a Seder to start and a discussion with students to end. His insistence that no one is safe until everyone is safe, can seem to portend a future in which no one will ever be safe, though as a teacher I assume he’s more sanguine. His manner, at least, is encouraging.
The Seder, which begins with a singing of “Go Down Moses (Let My People Go),” gathers a tableful of Black, white and biracial Jews — each distinguished enough to have their own Wikipedia pages — in a roundtable discussion. Participants include New Yorker editor David Remnick, author Jamaica Kincaid, journalist Esther Fein, rabbi Shais Rishon, Angela Buchdahl (the first East Asian American to be ordained as a rabbi); and culinary historian Michael Twitty, who provides the doubly meal — kosher salt collard greens, West African brisket and potato kugel with sweet and white potatoes and Creole spice.
Though both Jews and Black people faced (and face) discrimination, their American journeys were launched, says Gates, “on different trajectories,” one group chased from nominally Christian countries, the subject of durable medieval superstitions, the other dragged from their homes. Though the mass of Jewish migration, escaping Russian pogroms and Nazi Germany in succeeding waves, occurred in the late 19th and early 20th centuries, some arrived before the revolution; but the Constitution, which enshrined religious freedom, granted them legal rights. (This presumably did not help the Jews of African descent Gates says were present here early on.) Black people, kidnapped and enslaved, had none, and as freedom was gained, new laws were written to hold them in place.
Gates posits a sympathy between immigrant and first- and second-generation Jewish Americans in the 20th century and disadvantaged Black people, based on a common experience of oppression; Jewish newspapers used the word “pogrom” to describe violence against Black people in the South. And Jews, many raised with a sense of social justice, were disproportionately represented among white activists in the Civil Rights Movement. This would change: Where Martin Luther King declared “I’m more convinced than ever before that our destiny is tied up with the destiny of our Jewish brothers and vice versa, and we must work together,” later Black activists, like Stokely Carmichael preferred to go it alone, promoting self-determination and even separation.
Still, many of the stories here are based on Black and Jewish friendships. We learn of W. E. B. Du Bois and Joel Spingarn, who sat together on the board of the NAACP and to whom Du Bois dedicated his 1940 autobiography “Dusk of Dawn.” Of Tuskegee Institute founder Booker T. Washington and philanthropist Julius Rosenwald, a president of Sears, Roebuck and Co., who built schools — more than 5,000 nationally, eventually — for systemically disadvantaged Black students. (Graduates included Maya Angelou and John Lewis.) Of Chicago rabbi Abraham Heschel, bringing 15 other white rabbis down to Selma, Ala., in 1964 at the request of King, where their arrest made headlines — which translated to political pressure.
In music, we meet Louis Armstrong, who as a boy worked and stayed with a Jewish family, and wore a Star of David, and his manager Joe Glaser. We’re told the story of Billie Holiday‘s lynching ballad “Strange Fruit,” written by Abel Meeropol (under his pseudonym Lewis Allan), recorded by Milt Gabler for his Commodore label and performed regularly by Holiday at Barney Josephson’s Cafe Society, New York’s first truly integrated nightclub. And we hear Paul Robeson, daring to sing in Yiddish in a concert in Moscow, in support of Itzik Feffer, a Jewish poet imprisoned (and later murdered) by the Soviets.
As a social and political history covering two intersecting storylines for more than the length of the nation, it’s packed with incident and facts — the Klan resurgent after World War I (six million members, it says here); the 1936 Berlin Olympics, where Jesse Owens triumphed and the U.S. committee pulled two Jewish sprinters from competition; racist Nazi policies, borrowed from American Jim Crow, and the Holocaust. Also the domestic destabilizing effects of wars in the Middle East. Jews and Black people will find themselves on the opposite sides of some questions.
Even at four hours, it’s a survey course, streamlined but not simplistic, and as such it will fly through some points and elide others; there are whole volumes dedicated elsewhere to what constitutes a single sentence here, and libraries dedicated to some of these figures. (Why not read some?) The view is not singular, and as such, there’ll be something for everyone to question, especially as Jews and Black people are often described as a community, when neither is heterogeneous. (Jews don’t even agree on what makes a Jew.)
But whatever goes back and forth between then, the world has its own ideas. “People who hate Jews,” says Gates, “uncannily hate Black people too. Because when the stuff hits the fan, they’re coming after both of us.”
How did a gay hockey romance made by a little-known Canadian streamer become a global cultural phenomenon?
The answer, as it turns out, was by leaning into female and queer audiences. Since the debut last November of “Heated Rivalry,” which chronicles the clandestine love story between two fierce hockey rivals, the drama series from Bell Media’s Crave has emerged as an unlikely success story, defying a broader industry trend of media consolidation and waning commitments to diversity in Hollywood.
The mastermind behind the show’s success is Jacob Tierney, who read author Rachel Reid’s “Game Changers” series during the COVID-19 pandemic and then optioned all of the books after reading a Washington Post story about the proliferation of romance novels. After writing a pilot on spec, he approached the executives at Crave — where he had previously produced “Letterkenny,” “Shoresy” and “Canada’s Drag Race” — about green-lighting a series. From the outset, the gay writer-producer had a clear idea of how he wanted to adapt the “smutty” story for TV, starting with casting relative newcomers Hudson Williams and Connor Storrie as Shane Hollander and Ilya Rozanov, respectively.
“Jacob was very open to our feedback, but his common [refrain] back to us was, ‘We need to be true to the source material because the built-in fan base will expect certain things from us, and that includes the appearances of these actors and their ages,’” says Justin Stockman, Bell Media’s VP of content development and programming. “He’s like, ‘We found them. These are the people from the book.’ And that’s where we had to trust him.”
Brendan Brady, Tierney’s producing partner through their Accent Aigu Entertainment banner, notes that the Canadian TV model diverges from the American one, in that the producer retains ownership of the IP while collecting a licensing fee from the broadcaster. To fund the series, Tierney and Brady reinvested their personal fees to cover about 10% of the budget, while another 30% was sourced from tax credits. This included the Canada Media Fund, a resource derived from government and industry contributions that national broadcasters can allocate at their discretion. The rest of the financing usually comes from third parties.
But Tierney recalls that the notes from potential financiers did not align with his creative vision. Some wanted to delay the graphic depictions of gay sex and expand the world to include more characters. Someone even suggested introducing Rose Landry (Sophie Nélisse) earlier and putting her in a love triangle with Shane and Ilya, because they believed “this show won’t work without a female entry point,” Tierney recalls. Ultimately, Bell Media opted against a co-financier, instead covering the remaining costs through its new distribution branch, Sphere Abacus. But, Brady says, the budget was still “far south” of CA$5 million (approximately $3.6 million) per episode. “It’s so much less than that, it’s almost silly,” Tierney adds.
Sean Cohan, an American executive who worked at A&E Network and Nielsen before being appointed president of Bell Media, does not think “Heated Rivalry” could have been made in the U.S. For starters, “green-lighting” stateside is a “slower” process; Tierney could have been stuck in development hell for years. The show also contains numerous Canadian references — cottage country, loons, McGill University — which would have not made sense outside of the Great White North.
From left, stars Connor Storrie and Hudson Williams, creator Jacob Tierney and executive producer Brendan Brady on the set of “Heated Rivalry.”
(Sabrina Lantos)
For his part, Tierney doesn’t believe that “Heated Rivalry” would have even been made at another Canadian network or streamer. “There’s lots of ways to put your fingers in and get them sticky and screw things up, and these executives wanted the same show that we wanted to make and they supported us 100%,” he says. Those executives were so confident in the show’s success that they decided to move up the premiere date from February to late November to take advantage of the increase in viewership around the holidays. The accelerated release schedule meant that Tierney delivered his cut of the Season 1 finale a week and a half before it aired.
At the time of our interview, Tierney was already trying to break the story for Season 2, which he and Brady say will not premiere until spring 2027. “As much as I appreciate how rabid and interested people are at this point, the first season worked because I trusted my gut with this, and I’m going to do that again,” Tierney says.
Like the audience, Bell Media executives are waiting with bated breath for the next chapter of “Heated Rivalry.” And given that Accent Aigu has optioned all of the “Game Changer” novels (including Reid’s forthcoming “Unrivaled”), everything is on the table — more episodes or seasons, one-off specials, maybe even a spin-off. “We’re open to anything that keeps the quality where it was, but also brings our show back as quickly as we can,” Stockman says. (HBO Max will not be involved financially and remains merely a distributor.)
Tierney declines to reveal whether he will split “The Long Game” into one or two seasons, but he volunteers that he does not see himself making more than six episodes per season. “I don’t need to do 10. I would always rather tighten the belt than get loosey-goosey,” says Tierney, who will have a co-writer for Season 2 but continue to direct all the episodes himself. “I would rather be like, ‘Let’s see how much story we can pack into these episodes.’”
“We want everybody to be left yearning,” Brady adds. “That’s what everybody loves about this show. Less is more!”
“Heated Rivalry” may center on Shane and Ilya, but there will “absolutely” be “diversions” to other characters in the canon. “Just like you can’t tell the story without Scott Hunter, you can’t really tell the story without Troy Barrett,” Tierney says, alluding to a character from Reid’s books who is yet to appear in the TV series. And while there may be a lot more incoming calls about higher-profile casting, he adds, “We need Canadian talent, and we love Canadian talent. It’s not a burden, but it’s also something we literally have to do to get our financing.”
For Cohan, “Heated Rivalry” is valuable proof of concept as he attempts to convince more Canadian creators to return to their roots, regardless of where they now live in the world. “It certainly helps to feel like we’ve got a dramatic illustration, a data point — a pretty good one too — to say, ‘Yeah, look, we Canadians, not just Bell, can make great, global and profitable [shows], and we can do it by being authentic,’” Cohan says.
Times keep changing in high school sports, but some things stay the same, such as neighborhoods embracing their local sports teams whether they win or lose.
In the city of South Gate, there’s three high schools nearby one another, which draws fans to gyms, football fields, soccer fields, baseball and softball diamonds.
South Gate and South East are set to play in a Friday night Eastern League basketball game. Legacy is also in South Gate.
Steven Reyes, an assistant basketball coach at South Gate, offered an observation about participating in the rivalry games:
“This is a really strong local sports story because it’s not just about basketball — it’s about the city. In South Gate, three high schools are battling for city bragging rights, and every matchup feels like a playoff game. The gyms are packed, the community shows up, and the players know they’re representing more than just a team.
“What makes it special is the rivalry. These kids grow up playing against each other, they know each other, and when they face off, it’s personal — but in a competitive, respectful way. Each school has a different style, different identity, and it creates real drama throughout the season.
“It’s the kind of story that shows how sports bring a city together. Parents, alumni, and students are all invested, and the outcome actually matters to the community. This isn’t a one-game story — it’s an ongoing battle for pride, momentum, and respect. That’s why it’s compelling.”
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
If 31-year-old Puerto Rican rapper Bad Bunny wins the Grammy for album of the year Sunday, it will be the first time the award goes to a Spanish-language LP. A week later the singer, known as “the King of Latin Trap,” will headline the Super Bowl halftime show.
These twin feats by one of the world’s most famous performers — a proud Latino and a vocal critic of President Trump’s stance on immigration — plays out against the heartbreaking and chaotic backdrop of the federal government’s aggressive tactics on the streets of American cities, including Minneapolis, where two citizens were shot dead by federal agents.
For the record:
3:12 p.m. Jan. 30, 2026In the “On our radar” section of the newsletter, the item on “Beginnings: The Story of Creation in the Middle Ages” at the Getty mischaracterized the exhibition. The show primarily draws from the Getty’s collection of manuscripts, which are displayed alongside four works by contemporary artist Harmonia Rosales.
This is likely why a painting by an L.A.-based Puerto Rican artist named Ektor Rivera, a reimagining of Emanuel Leutze’s iconic 1852 painting, ‘Washington Crossing the Delaware,” is attracting a wave of attention online. An Instagram post about the painting by Rivera — which features Bad Bunny alongside a host of other Puerto Rican cultural heroes, including Lin-Manuel Miranda, Sonia Sotomayor and Tito Puente — has more than 170,000 likes and 2.3 million views, spurred in part by the fact that Ricky Martin, who is also featured in the tableau, shared it.
Titled “The Discovery of Americans,” the 5’ x 8’ acrylic-on-canvas painting was commissioned by Seth Goldberg, a talent agent who spent his career working with Latin celebrities from his homebase in Miami. In a phone interview, Golberg said he felt disappointed by the controversy that erupted after the announcement that Bad Bunny would play at the Super Bowl — particularly when people didn’t seem to realize that as a Puerto Rican the singer is an American.
A detail of “The Discovery of Americans,” Ektor Rivera, acrylic on canvas, 2025.
(Ektor Rivera)
“And I thought that maybe if we reframe that Leutze painting with these cultural icons, maybe it changes who we see and celebrate as American, or at least makes a few people think about it a little more,” Goldberg said.
Rivera, who met Goldberg at a dinner with his manager five years ago, ran with the idea, placing a cast of Puerto Rican luminaries in the famous rowboat alongside Bad Bunny — who is draped in the Puerto Rican flag and standing in Washington’s place.
“As a Puerto Rican, I have U.S. citizenship, but I’m still asked if I have my green card,” Rivera said in a recent phone interview. “The people who voluntarily don’t want to learn about the great aportación [contributions] Latinos are giving to this country, and in my case, Puerto Ricans, is really frustrating, and how ICE is dealing with our people is something that is very sad.”
It is notable in the painting that the boat is literally breaking the ice on the river as it moves across the water, Rivera said.
Rivera — a graduate of the School of Plastic Arts and Design of Puerto Rico — is also an actor. He starred in a Puerto Rican production of Lin-Manuel Miranda’s early musical, “In the Heights,” during which time he met the famous actor and composer. Miranda and his father, Luis Miranda, later commissioned Rivera to paint a portrait of Rita Moreno, which now hangs in Centro de Bellas Artes de Santurce in San Juan.
The joy Moreno showed when the painting was unveiled has stayed with Rivera, who now lives and works in Santa Clarita. He is raising his children to know and love their Latin heritage — during a trying time when Latinos are often denigrated by the current administration.
Trump recently told the New York Post that he won’t be going to the Super Bowl this year, noting of Bad Bunny and the band Green Day, which will open the telecast, that he is “anti-them.”
“I think it’s a terrible choice,” Trump said. “All it does is sow hatred. Terrible.”
In Rivera’s painting, Levi’s Stadium in Santa Clara — where the Super Bowl will take place this year — can be seen on the horizon. Those in the boat are smiling. They are looking forward to being part of the mix. It’s a loving representation, filled with hope and possibility.
“We’re celebrating that we are putting our identity as Latinos on one of the major stages in the world,” said Rivera. “And that’s huge. That’s going to educate people, and make them interested.”
America, Rivera said, is not just for certain people.
“America is everybody. America is the world.”
I’m arts editor Jessica Gelt and I’ll be rooting for Bad Bunny at the Grammys this weekend. Here’s your arts and culture news for the week.
On our radar
“Creation” by Harmonia Rosales, 2025. Oil, gold leaf, gold paint and iron oxide on panel. 121.9 × 91.4 cm (48 × 36 in.).
Beginnings: The Story of Creation in the Middle Ages The Getty exhibition explores how people in the Middle Ages imagined the creation of the world through manuscripts, alongside works by LA-based artist Harmonia Rosales, who utilizes West African Yoruba mythology and Black resilience and identity.
Through April 19. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu
Tiffany Townsend performs Saturday and Sunday in Long Beach.
(Mia McNeal)
Crash Out Queens: A Tiffany Townsend Recital The soprano officially kicks off the Long Beach Opera’s season with an exploration of women in opera that expands into a multidisciplinary collaboration with pianist Lucy Yates, dancer Jasmine Albuquerque, scenic designer Prairie T. Trivuth and more. 7:30 p.m. Saturday; 4 p.m. Sunday. Altar Society, 230 Pine Ave. in Long Beach. longbeachopera.org
Midori Francis and Noah Keyishian rehearsing for “Sylvia Sylvia Syvia” at Geffen Playhouse.
(Jeff Lorch)
Sylvia Sylvia Sylvia A woman struggling with writer’s block and her own husband’s literary success takes refuge in the Boston apartment once occupied by Sylvia Plath and Ted Hughes in the world premiere of this tragicomic thriller from playwright Beth Hyland. Directed by Jo Bonney. Wednesday through March 8. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org
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The week ahead: A curated calendar
FRIDAY
Soprano Masabane Cecilia Rangwanasha appears with the L.A. Phil Friday and Saturday.
(LA Phil)
Mahler, Bartók & Ravel Dudamel Fellow Elim Chan conducts the L.A. Phil in a program culminating with Mahler’s Fourth Symphony featuring South African soprano Masabane Cecilia Rangwanasha. 11 a.m. Friday; 8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Miles Davis Centennial Concert The Miles Electric Band, led by Emmy- and Grammy Award-winning producer/drummer Vince Wilburn Jr., features a fusion of Miles Davis alumni and next-generation talents, including Darryl Jones, Robert Irving III, Munyungo Jackson, Jean-Paul Bourelly, Antoine Roney, Keyon Harrold and DJ Logic, plus special guests. 8 p.m. Friday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
Lifeline Written by Robert Axelrod and directed by Ken Sawyer, this drama finds a mother volunteering at a suicide hotline following a life-altering event. 8 p.m. Fridays and Saturdays; 2 p.m. Sundays, through March 1. The Road Theatre, NoHo Senior Arts Colony, 10747 Magnolia Blvd. roadtheatre.org
101 Dalmatians The 65th anniversary release of the Disney animated classic gets a one-week run in movie palace splendor. Tickets are $10 and include a complimentary small popcorn. 10 a.m., 1, 4 and 7 p.m. daily, through Thursday. El Capitan Theatre, 6838 Hollywood Blvd. elcapitantheatre.com
“metal mettle metal mettle” by Steve Roden, 2020. Acrylic with paper collage
(Robert Wedemeyer/Courtesy Vielmetter Los Angeles)
Steve Roden/Sophie Calle A pair of new exhibitions open today in Orange County: ‘Wandering” focuses on the late Los Angeles–based artist Steve Roden’s works on paper, presenting drawings and collages as forms of travel without a set destination; and “Overshare” is a survey of French conceptual artist Sophie Calle’s photography, text, video and installation work that mines intimate relationships and chance encounters. Through May 24. UC Irvine Langson/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
Sweeney Todd Jason Alexander directs Stephen Sondheim and Hugh Wheeler’s musical thriller about the Demon Barber of Fleet Street and has assembled a topflight cast led by Tony nominee Will Swenson and Olivier Award winner Lesli Margherita. Through Feb. 22. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. lamiradatheatre.com
SATURDAY Garrick Ohlsson and Richard O’Neill Pianist Ohlsson and violist O’Neill team up for an evening of Schubert and Rachmaninoff. 7:30 p.m. Saturday. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
SUNDAY Common Ground The Los Angeles Master Chorale performs the world premiere of “The Beatitudes” by five-time Emmy Award-winning composer Jeff Beal, who will play the piano and flugelhorn, and Henryk Górecki’s “Miserere,” inspired by the 1980s Polish Solidarity movement. 7 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
TUESDAY
Jacob Aune, left, and Sam McLellan in the North American tour of “The Book of Mormon.”
(Julieta Cervantes)
The Book of Mormon The latest national tour of the Broadway smash comes to town. When the show had its L.A. debut at the Pantages in 2012, Times theater critic Charles McNulty wrote, “Just know that this exceedingly naughty, though in the end disarmingly nice, show is devised by the minds behind ‘South Park’ and that risqué ‘Sesame Street’ for theater-loving adults, ‘Avenue Q.’ In other words, leave the kids at home with a baby-sitter” Through Feb. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. Feb 24-25. The Granada Theatre, 1214 State St., Santa Barbara. thebookofmormontour.com
Adams, Cheung & Lanao John Adams curates the third installment of the LA Phil Etudes, highlighting the orchestra’s principal musicians in solo pieces by contemporary composers Francisco Coll, Samuel Adams, Nico Muhly, Sílvia Lanao and Anthony Cheung. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Dr. Strangelove Steve Coogan plays four roles in this screening of the National Theatre stage adaptation of the 1964 Stanley Kubrick film recorded live in London. 7 p.m. The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
THURSDAY
Cheyenne Jackson plays the Wallis Thursday night.
(Vince Truspin)
Cheyenne Jackson The Broadway heartthrob performs a “musical memoir” with tunes made famous by Frank Sinatra, Elvis Presley, Sam Smith and Chappell Roan, plus his own song “Ok,” detailing his father’s unconditional love for his gay son. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
— Kevin Crust
Culture news and the SoCal scene
Eddie Izzard brings Shakespeare’s “Hamlet” to Los Angeles in a new solo staging, adapted by Mark Izzard and directed by Selina Cadell.
(Carol Rosegg)
Eddie channels tragedy Times theater critic Charles McNulty weighed in on the gender-fluid British comedian Eddie Izzard’s solo performance of “Hamlet,” running through Sunday at the Montalbán Theatre in Hollywood. McNulty calls the show “a daredevil feat of memory, theatrical bravado and cardio fitness,” noting that, “As a spectacle, it’s as exhilarating as it is exhausting. The thrill of seeing a fearless, indefatigable performer single-handedly populate the stage with the myriad figures of this masterwork never lets up. But fatigue can’t help setting in once it becomes clear that this marathon drama will be delivered in the broadest of strokes.”
Father and son McNulty also headed to Matrix Theatre’s Henry Murray Stage to catch a Rogue Machine world premiere of L.A. writer Justin Tanner’s solo show, “My Son the Playwright.” McNulty calls Tanner “one of the signal voices of L.A.’s wild and free intimate theater scene.” The show is divided into two acts, one that presents the father’s side of the relationship, and the other, the son’s. “Tanner plunges into these ostentatiously autobiographical roles, heedlessly, hectically and without a psychiatric net,” McNulty writes.
Academy cuts Arts and entertainment writer Malia Mendez got the scoop that the Academy Foundation laid off all five staffers with its Oral History Projects team, “effectively dissolving the department responsible for conducting and preserving interviews with notable members of the film industry.” In a statement posted on social media, the Academy Foundation Workers Union, AFSCME Local 126, called the cuts “a sad and reckless choice.” (Also, two of the laid-off staffers were placed in other roles in the organization.)
Breaking Glass I jumped on the news that composer Philip Glass abruptly canceled June’s world premiere of his Symphony No. 15 “Lincoln” at the Kennedy Center, saying its message does not align with the vision for the venue under the Trump administration. “Symphony No. 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the Symphony. Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership,” Glass wrote Tuesday in a letter to the board that was shared with The Times.
The hits keep coming Speaking of the Kennedy Center: As the artistic losses continue to mount at the beleaguered performing arts center in the wake of President Trump’s takeover — and renaming — of the venue, the Washington Post reported that Kevin Couch, who was recently announced as the new senior vice president of artistic programming for the venue, resigned less than two weeks later. No reason was given, and Couch declined a Post request for comment.
50 is nifty In happier local news, San Diego’s Opera Neo — a summer opera festival and young artist training program — celebrating its 50th anniversary season, and has announced its upcoming lineup. Highlights include Antonio Vivaldi’s, “Arsilda,” Louise Bertin’s “Fausto” and Gioachino Rossini’s “Il turco in Italia.”
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To say that DeAndre Cole inherited a difficult challenge when he became the boys’ basketball coach at Compton Centennial this season would be an understatement. The team went 1-23 last season and had a streak of seven consecutive losing seasons since finishing 13-13 in 2017-2018.
“The expectation was to bring the winning culture, to bring some excitement,” the 44-year-old Cole said.
Incredibly, Centennial has already finished its regular season with a 12-12 record and represents one of the biggest turnaround stories in Southern California. The .500 record means Centennial is eligible for a Southern Section at-large playoff berth.
This is a program where UCLA assistant coach Rod Palmer once had teams competing against the best when alumnus Arron Affalo was bombing in threes and delivering dunks before going on to UCLA and the NBA. Centennial won the 2004 state Division III championship. This year’s team went 1-6 in the Ocean League, where Inglewood and high-scoring Jason Crowe Jr. won the league title.
Cole once served as an assistant coach at Washington Prep and Manual Arts. He was set to be head coach at Morningside until the school closed last year.
He’s a Crenshaw grad who says he was kicked off the basketball team by legendary coach Willie West. Asked what he learned, Cole said, “It takes hard work and being dedicated buying into the program and no player is bigger than the program.”
He said his problem was not listening to West and thinking he was the next Stephen Curry.
Even though Centennial had only six players available much of the season for varsity action, Cole created a junior varsity team, so help is on the way if the team gets a playoff spot. The team’s best two players have been guards Jaden McDonald, a transfer from Detroit, and Edward Johnson, who used to be home-schooled.
Five of the six players have played football, including Joshua Crathers, who was the school’s quarterback for two years.
Asked what he learned after winning one game last season, Crathers said, “Don’t give up. When you lose, you get better.”
Cole had to be creative when he lost a player against St. Bonaventure, leaving the Apaches with four players. A student who was a friend of a Centennial player with minimal practices was asked to join the team for a single game.
“We need you to show up,” Cole told the student.
Cole remembers him being so out of shape that he needed a water break after the first play of the game. Centennial won 63-58.
McDonald said the team has no choice but to be in their best shape knowing players have to play the entire game.
“I feel everything that comes to us is deserving, but we have to work hard,” McDonald said.
There’s no reason the program can’t continue to grow considering the Compton area is filled with talent. Remember the city is where DeMar DeRozan, Patrick Christopher, Tyson Chandler and Corey Benjamin once played. It’s about keeping the neighborhood kids home and showing players can develop and explore their basketball dreams.
Considering how far Centennial plunged, a 12-12 record at this point is a stunning reward for the school, players, parents and fans. Let’s see where Cole can take them.
Eva Longoria, John Leguizamo and Xochitl Gomez are among the 100-plus Latino actors, artists and creatives who have signed an open letter calling for accountability in Hollywood — citing longtime discrimination in casting and storytelling.
The public statement follows the controversy surrounding Odessa A’zion, who dropped her role as a Latina character in Sean Durkin’s “Deep Cuts,” following online backlash over the actor herself not being Latina.
“Recent casting decisions around the character Zoe Gutierrez in A24’s ‘Deep Cuts’ have exposed a troubling pattern,” the letter states. “We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen?”
Earlier this week, the Wrap revealed that the “I Love L.A.” and “Marty Supreme” breakout star was cast as Zoe Gutierrez in the A24 film adaptation of Holly Brickley’s music-filled coming-of-age novel. The character’s identity plays an important role in the book, as she is written as a half-Mexican and half-Jewish lesbian.
Though the 25-year-old announced Wednesday night that she had dropped the role — admitting through her Instagram stories that she had not yet read the book, nor learned of all the character’s traits — the incident has unearthed questions about Latino representation in Hollywood.
“This isn’t about Odessa,” said Xochitl Gomez to The Times on Friday. “It’s about the executives, the producers and the whole system at the top. They thought it was OK to not even audition Latinas for the role in the first place. Latinas were pitched, including me, but we were told that there was an actress with an exclusive offer. This role never showed up on the casting grid because it was already gone.”
Xochitl Gomez attends “REBBECA” LA Premiere on November 30, 2025 in Los Angeles, California. (Photo by JC Olivera/Getty Images for State of the Art)
(JC Olivera / Getty Images for State of the Art)
According to UCLA’s 2025 Hollywood Diversity Report, Latinos were cast in only 1% of the leading roles in the top 104 English-language films released theatrically in 2024, despite constituting roughly 20% of the total U.S. population.
In TV, representation is just as stark. Latinos are cast in only 6% of all roles across the top U.S. broadcast series, as per a recent study by ¡Pa’lante! — a Latino representation initiative from the USC Norman Lear Center — which also found that 1 in 4 Latino characters are depicted as career criminals.
“The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture,” the letter continues. “This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.”
The signatories request that Latino actors be hired for a diverse range of roles, including non-stereotypical leads. There is also a demand for more Latino executives to be involved in green-lighting projects and the inclusion of Latino consultants, writers and producers from the earliest stages of development. Finally, there is a call on Hollywood to create mentorship, scholarships and opportunities that expand access on all levels of the ecosystem.
This plea by marginalized creatives is not the first pushback — nor likely the last — against a stagnant Hollywood machine.
As early as the 1920s, the portrayal of Latinos was so negative that the Mexican government, and even Woodrow Wilson reportedly told Hollywood producers to “please be a little kinder to the Mexicans.”
In 1999, the National Hispanic Media Coalition (NHMC) and the National Assn. for the Advancement of Colored People (NAACP) called for the boycott of broadcast networks’ 26 new fall series because they did not feature a non-white lead, sparking dialogue over the diversity of Hollywood at the time.
Comedian Chris Rock blasted the industry in a 2014 essay for its omission of Mexicans in Los Angeles, where nearly half of the population is Latino: “You’re in L.A., you’ve got to try not to hire Mexicans.”
Rep. Joaquin Castro (D-Texas) — who in recent years has nominated several Latino-focused films to the Library of Congress National Film Registry — also penned a 2020 column in Variety, underscoring the dearth representation of Latinos in entertainment and the consequences of omission. “Prejudice has existed in the United States for generations, but the image of our community created by film and television has done little to counter bigoted views, and too often has amplified them.”
Another letter published in October 2020 with over 270 showrunners, creators, television and film writers signatures — including Lin-Manuel Miranda and “One Day at a Time” co-creator Gloria Calderón Kellett — called for systemic change in the industry. “We are tired,” they wrote.
The pushback continued in 2022, when actor Leguizamo penned an open letter in The Times about the history of Latino representation and the co-option of Latino stories — including that of Mexican revolutionary Emiliano Zapata, who was portrayed by a brownface Marlon Brando in the 1952 film “Viva Zapata!,” and Al Pacino, who played the fictional Cuban character Tony Montana in the 1983 film “Scarface.”
Wrote Leguizamo, “There’s a fix for this: Cast more Latinos!”
Read the full open letter below.
Dear Casting Directors, Creative Executives, Writers, Producers, and Hollywood Leaders,
We write to you with urgency, because storytelling is humanity’s compass and Hollywood wields all the power. The stories you choose to tell, and how you tell them, shape public perception, cultural understanding, and who gets to see themselves reflected on screen. In these challenging moments that power comes with real responsibility.
Recent casting decisions around the character Zoe Gutierrez in A 24’s Deep Cuts have exposed a troubling pattern. We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen? The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture. This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.
Latino communities are already underrepresented and misrepresented in ways that distort reality and harm real people. Casting decisions carry real weight: they influence who is seen as worthy of authentic storytelling and who gets to tell those stories with care, nuance, and authority.
We are calling for accountability, intentionality, and equity in casting and storytelling. Authentic representation means more than casting a performer who looks like the character; it means involving the communities being portrayed not just in front of the camera, but in the decisions that shape these stories from their inception. Our stories deserve to be shaped with the input, guidance, and leadership of Latino creators, consultants, writers, and performers at every stage.
We implore you to join us in concrete action:
Audition and hire more Latino actors for a diverse range of roles, including non-stereotypical leads
Hire Latino executives in your greenlighting rooms
Include Latino voices as consultants, writers, and producers from the earliest stages of development
Create and support pipelines: mentoring, scholarships, and opportunities that expand access all levels of the ecosystem
Devil in Disguise: John Wayne Gacy tells the terrifying story of the American serial killer, spanning across eight episodes. Having first been released in the US last year, it will today (January 30) be released on ITV and ITVX.
It has been teased: “Prepare to take a deep dive into the mind and life of one of America’s most notorious serial killers with this drama that tells the terrifying story of John Wayne Gacy.
“From 1972-1978, thirty-three young men were kidnapped, murdered, and buried in a crawl space beneath their killer’s house. And no one was the wiser. Not for all those years. Why? He was charming and funny.
“Had a good, All-American job. Was a community leader. He even volunteered to entertain sick kids… while dressed as a clown.
“Devil In Disguise: John Wayne Gacy peels back the twisted layers of Gacy’s life while weaving in heartrending stories of his victims; exploring the grief, guilt, and trauma of their families and friends; and exposing the systemic failures, missed opportunities, and societal prejudices that fueled his reign of terror.”
The series has already been a hit with viewers, as one person said: “Honestly, one of the most harrowing and distressing things I’ve ever seen. Each episode takes time to honour and bring back to life one or more of the victims.”
Is Devil in Disguise based on a true story?
Yes, the ITV drama is based on the true story of the notorious American serial killer John Wayne Gacy, who murdered young men and boys in the 1970s. Although a dramatisation of his life and crimes, it is based on real-life events that occurred.
Known as the Killer Clown, because Gacy often dressed as one when volunteering at various events, he targeted young men and sexually assaulted many of them before killing them. And he went untraced from 1972 to 1978.
Across a six-year spree, Gacy murdered 33 young men before burying them in a mass grave under his own home in Chicago. Leading a double life, Gacy had a fascination with clowns, often using that persona to lure his victims.
But it wasn’t until 1978 that he was arrested and confessed to the crimes. His arrest came after the disappearance of teenager Robert Piest, who was Gacy’s final victim, which led authorities to suspect Gacy.
In 1980, he was convicted of killing 33 young men and sentenced to death before receiving the lethal injection at the age of 52 in 1994.
Devil in Disguise: John Wayne Gacy airs tonight at 9pm on ITV.
Cher Horowitz fans, rejoice: Amy Heckerling’s 1995 teen comedy is one of 25 classic movies chosen this year by the Library of Congress for its National Film Registry.
And if “Clueless” wasn’t your jam — whatever! — maybe this will send you deep into your dreams: Christopher Nolan’s mind-bending “Inception” is in the mix. Other films chosen for preservation include “The Karate Kid,” “Glory,” “Philadelphia,” “Before Sunrise,” “The Incredibles” and “Frida.” There are four documentaries, including “Brooklyn Bridge” by Ken Burns. From old Hollywood, there’s the 1954 musical “White Christmas,” and the 1956 “High Society,” Grace Kelly’s last movie before marrying into royalty.
Since 1988, the Library of Congress has selected 25 movies each year for preservation due to their “cultural, historic or aesthetic importance.” The films must be at least 10 years old.
The oldest of the 2025 picks dates from 1896, filmmaker William Selig’s “The Tramp and the Dog.” The newest of the group is from 2014: Wes Anderson’s “The Grand Budapest Hotel,” which, the registry noted, involved “meticulous historical research at the Library of Congress to create visually striking scenery.”
Turner Classic Movies will host a TV special March 19 to screen a selection of the films.
A closer look at some of this year’s selections:
“The Tramp and the Dog” (1896): Once deemed lost, but discovered in 2021 at the National Library of Norway, Selig’s silent film tells the story of a tramp who tries to steal a pie from a backyard windowsill — and is foiled by a dog. The registry notes it’s an early example of “pants humor” — “where a character loses (or almost loses) its pants during an altercation.”
“The Maid of McMillan” (1916): This 15-minute “whimsical silent romance” shot by students at a drama club at Washington University in St. Louis tells the story of the track team captain, Jack, who’s in love with Myrtle, “a pretty coed,” according to the university’s library. It is known, the registry says, as the first student film on record.
“Ten Nights in a Barroom” (1926): A silent film featuring an all-Black cast, it’s based on a stage melodrama adapted from “Ten Nights in a Bar-room and What I Saw There,” an 1854 “temperance novel” written to discourage readers from drinking alcohol.
“High Society” (1956): In what the registry calls “the last great musical of the Golden Age of Hollywood,” Bing Crosby appeared with Frank Sinatra and Grace Kelly, in her last movie before retiring and marrying Prince Rainier of Monaco. Louis Armstrong appeared with his band. Kelly wore her Cartier engagement ring during filming, the registry notes.
“Brooklyn Bridge” (1981): Ken Burns’ first documentary broadcast on PBS, in which the filmmaker recounted the building of the iconic landmark. “More than just a filmmaker, Burns has become a trusted public historian,” the registry says.
“The Big Chill” (1983): Lawrence Kasdan’s era-defining story of a group of friends reuniting after a suicide features Glenn Close, William Hurt, JoBeth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly in an ensemble that “portrays American stereotypes of the time — the yuppie, the drug dealer, the TV star — and deftly humanizes them.”
“The Karate Kid (1984): The first film in the franchise, starring Ralph Macchio and Pat Morita, is “as American as they come,” the registry says — “a hero’s journey, a sports movie and a teen movie — a feel-good movie, but not without grit.”
“Glory” (1989): Denzel Washington won an Oscar as Private Trip in this story of the 54th Regiment, a unit of Black soldiers who fought in the Civil War. The cast also included Morgan Freeman, Matthew Broderick, Cary Elwes and Andre Braugher.
“Philadelphia” (1993): Tom Hanks starred — and won an Oscar — in one of the first big studio movies to confront the HIV/AIDS crisis. The film is also known for Bruce Springsteen’s Oscar-winning song, “The Streets of Philadelphia.”
“Before Sunrise” (1995): The first film of Richard Linklater’s deeply romantic “Before” trilogy, starring Ethan Hawke and Julie Delpy. The registry notes Linklater’s “innovative use of time as a defining and recurring cinematic tool.”
“Clueless” (1995): Heckerling’s teen comedy, starring Alicia Silverstone, was a loose adaptation of Jane Austen’s “Emma” and forever enshrined the phrase “As if!” into popular culture. The registry hails “its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism.”
“The Wrecking Crew” (2008): Danny Tedesco’s documentary — not to be confused with the 2026 buddy cop movie of the same name — looks at a group of Los Angeles studio musicians who played on hit songs of the ‘60s and ’70s such as “California Dreamin’” and “The Beat Goes On.”
“Inception” (2010): In a movie that asks whether it’s possible to influence a person’s thoughts by manipulating their dreams, Nolan “once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects.”
Noveck writes for the Associated Press.
Full chronological list of 2025 National Film Registry inductees
As the Sundance Film Festival winds down its final edition in Park City, Utah, this week, ahead of its move to Boulder, Colo., next year, its sway over the nonfiction field at the Oscars remains as steady as ever. All five current Academy Award nominees for documentary feature premiered at last year’s festival, with Sundance films winning the category six times over the last decade.
“Sundance has been a kick-starter for my entire career,” says Ryan White, director of “Come See Me in the Good Light,” his fourth film to premiere at the festival. The intimate portrait of Colorado poet laureate Andrea Gibson, who faces a terminal diagnosis with a spirit of resilience, needed the boost. “The lead words are poetry and cancer, and it’s a character-driven film about a non-binary person,” White says. “It wasn’t the easiest film to get off the ground.” A similar challenge could apply to other nominees, including “Mr. Nobody vs. Putin” and “Cutting Through Rocks,” which focus on everyday individuals taking on oppressive systems in Russia and Iran, respectively. “There are the types of films that can get lost because they’re not about a celebrity, and they don’t have these marquee descriptors. Sundance does such an amazing job of discovering these diamonds.”
Andrea Gibson, left, and Megan Falley in “Come See Me in the Good Light.”
The exposure at the start of the film festival season “gives you that one-year runway that allows you to play festivals all year long,” says White, who was back at Sundance to celebrate the end of an era. He also knows the pain of not making the cut. “My first two films didn’t get into Sundance, and then my third one did. I’m always telling young filmmakers to use the Sundance rejection as fuel.”
A festival berth was strong motivation for “Mr. Nobody” filmmaker David Borenstein, who collaborated with his subject, a schoolteacher near the Ural Mountains named Pavel (“Pasha”) Talankin, as he quietly documented Russian propaganda efforts to rally his young students around the war in Ukraine. “That was the goal the entire time making this film,” says the director, an American based in Copenhagen. “I never thought once about anything after Sundance.” When the Danish Film Institute submitted his film as the country’s entry for the international feature Oscar, he had a new goal. “We were the last to start campaigning because we didn’t have a streamer behind us.”
Borenstein interrupted a family vacation in the Dominican Republic to return to Sundance for meetings and figure out next steps. “Forget winning or losing,” he says. “You have six weeks where you have a voice, where Pasha has a voice. How do you use it?” Talankin, who fled his home — first for Turkey, then the Czech Republic — is, for the moment, no longer “Mr. Nobody,” but as Borenstein notes, “He sacrificed his whole life to do this.”
Iranian American filmmakers Mohammadreza Eyni and Sara Khaki were well into the eight-year production of “Cutting Through Rocks” when they became recipients of a 2020 Sundance Documentary Fund grant. “The timing was perfect and we really, really, really needed that support,” says Khaki, joining Eyni on a video conversation from Park City, where their film won the Grand Jury Prize in the world cinema category last year. “Sundance is something beyond only the festival for us,” Eyni says. “It’s more about persistence as a filmmaker and the cinematic approach to the stories and sense of community.”
“Cutting Through Rocks” follows Sara Shahverdi, the first woman elected to the council of her northwestern Iranian village, as she challenges the practice of child marriage and other patriarchal norms and empowers young women by showing them how to ride motorbikes, as she does herself. The message of resistance feels relevant worldwide, but most urgently in Iran, where estimates of deaths during recent protests top 30,000 people. “We want small stories and anecdotes to remind us that we can bring change,” Eyni says, “even when it’s tough, even when it seems impossible.” Although the film is the first documentary from Iran to be nominated for an Oscar, the news has been hard to share there because of the government’s weeks-long internet blackout.
“We are experiencing a lot of complex emotions,” Eyni says.
Sara Shahverdi, the subject of Oscar-nominated documentary feature “Cutting Through Rocks.”
(Gandom Films)
Sundance thrives on exactly those kinds of feelings. The dramatic premiere of “Come See Me in the Good Light” was, for its filmmaker, “The best night of my entire career.” What began as a film about the end of Gibson’s life quickly became a story about the joy of a life well-lived, experienced alongside the charismatic subject’s wife, poet Megan Falley. When White broke the news about the film’s acceptance, “Andrea was so emotional saying, ‘You’re telling me if I survive for six more weeks, I might see this movie?’” he recalls. And they did.
“I think people fell in love with Andrea during the course of that film, but they probably assumed that Andrea had passed away, and they were about to see a card at the end of the film,” White continues. Then Gibson walked up. “It was like a rock star rising from the ashes. You could literally feel the theater vibrating.”
Netflix has added a historical drama based on the true story and viewers have been captivated
Toni Chichiarelli is a real-life artist(Image: NETFLIX)
Netflix has quietly dropped a historical drama rooted in real events, and true crime enthusiasts are already singing its praises. The streaming giant has added this Italian post-war thriller, which chronicles the life of Toni Chichiarelli (portrayed by Pietro Castellitto).
The gifted artist scrapes by creating street portraits in Rome during Italy’s tumultuous Years of Lead. This period witnessed widespread chaos fuelled by political violence from both neo-fascist groups and far-left extremists.
Time Magazine noted: “Toni’s amoral ambition leads to a life of forgery, producing perfect replicas of paintings for his gallery owner girlfriend Donata (Giulia Michelini) and other lucrative jobs for the Banda della Magliana, a criminal organization stretching its wings in Rome, with the charismatic Balbo (Edoardo Pesce) taking the forger under his wing.”
This ambitious production, amongst Netflix’s collection of fact-based films, has earned acclaim for its meticulous period detail, with reviewers highlighting the authenticity of everything from vehicles to wardrobes and soundtrack. Viewers have branded it a compelling blend of political suspense and gangster drama.
The Netflix offering is titled The Big Fake, and supporters have flocked to IMDb reviews encouraging others to give it a watch.
Pjames10 praised it as “excellent”, revealing: “I don’t want to give anything away, but the movie took some nice twists and turns. It had some filmic serendipities that, rather than distracting, only helped to reveal how our hero has led a charmed life on the periphery of legitimacy and criminality. I was sucked in, and it held my attention the entire time.”
2B-10101010 branded it “amazing”, continuing: “Intrigue, emotion, story, actors, this movie has it all. It starts a bit slow but after the initial introduction, you get to know the characters and story and you want to see more, you want to feel like you are in the movie, it’s a captivating story with a bit of flair. Maybe one of the best European movies! Give it a chance, it’s worth seeing.”
Luuthaiquangkhai awarded the film nine out of 10 stars, commending its distinctive atmosphere.
They explained: “I came in expecting a heist/criminal movie, ends up watching a Historical drama that is very much unlike any other things. They have a good story to tell, a firm set of characters with clear individual values and motivations.”
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Over on Rotten Tomatoes, Giulia S enthused: “Amazing plot. Great character. Great Atmosphere. I really enjoy it!” Anthousa P declared: “Finally a movie for readers of good literature. Where the story matters less than how it is told. Lovely photography, solid acting, good steady pace, interesting musical background.”
Lucas P declared: “An absolute masterpiece of a movie with a spectacular twist at the end. This is a must-watch.”
The genuine Antonio Chichiarelli was an expert in deception, and his talents extended far beyond painting. Born in Abruzzo in 1948, he made his way to Rome possessing a skill “so dangerous it made him a protected asset for the most powerful entities in Italy”, according to The Viewers Perspective.
The Big Fake is on Netflix.
**For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossipwebsite**
Before arriving at CBS News in October to become editor in chief, Bari Weiss had never been inside a television control room.
But on Tuesday, she presented her plan for taking the storied news division forward after a series of moves that has damaged its standing among viewers, failed to improve ratings, lowered internal morale and generated highly negative press coverage.
Weiss, addressing the staff gathered at the CBS Broadcast Center in Manhattan, reached out to those who have not been impressed with what they have seen so far. “I’m not going to stand up here today and ask for your trust,” she said, according to a transcript provided by CBS News. “I’m going to earn it, just like we have to do with our viewers.”
The statement was an acknowledgment that the early days of Weiss’ tenure have not been smooth. Weiss has dealt with her own lack of familiarity with TV news procedures, the entrenched culture of a legacy media institution and suspicion that partisan politics are driving changes. The town hall-style meeting was an attempt at a reset.
Weiss fought the claims that her mandate at CBS News is to provide friendlier coverage to the Trump administration as parent company Paramount pursues an acquisition of Warner Bros. Discovery. She said she has never discussed CBS News coverage of the White House with Paramount Chief Executive David Ellison, to whom she reports.
Paramount Chief Executive David Ellison attends the premiere of “Ghosted” at AMC Lincoln Square in New York in April 2023.
(Evan Agostini/Evan Agostini/Invision/AP)
“I’m here to do one thing,” Weiss said. “It’s not to be a mouthpiece for anybody. It’s simply to be a mouthpiece for fairness and the pursuit of truth.”
She told employees her business goal for CBS News is to expand its reach on digital platforms.
“We are not doing enough to meet audiences where they are, so they are leaving us,” she said, adding that the network’s strategy until now has been “to cling to the audience that remains on broadcast television. If we stick to that strategy, we’re toast.”
Weiss said she wants to focus on expanding the most successful CBS News programs — “60 Minutes,” “CBS Sunday Morning” and true crime magazine “48 Hours” to other platforms, including podcasts, newsletters and live events. “We need to shift to a streaming mentality immediately,” she said, adding that “our competitors are not just the other broadcast networks.
The pronouncement — which could have been made five to 10 years ago — was welcomed by some CBS News employees who believe the operation has lagged in using its resources to expand beyond traditional TV. Overall, they were encouraged by Weiss’ remarks.
“She went a good way to bring people together,” said one attendee. “That was a good start.”
One question posed to Weiss, which is likely to loom over her tenure, is how much time does CBS News have to replace the substantial revenue still generated by traditional TV with digital enterprises. Ad rates for digital platforms are substantially lower than those for TV, which means greater dependence on subscriptions and other revenue sources.
Weiss did not provide any specifics on the level of investment for the new initiatives. “The emphasis going forward is going to be building things that people are ultimately willing to pay for,” she said.
Weiss said the network is recruiting “fresh young talent” that will focus on reporting first through social media, “but will appear everywhere else too.” She showed three recent hires based in London, Kyiv and New York who deliver their stories across different platforms using their iPhones.
Weiss also announced the hiring of 19 new contributors, several of whom have already appeared on the Free Press, the digital news site that CBS News parent Paramount acquired as part of the deal to bring her into the company.
The dependence on contributors, who are not employees but paid for their TV appearances, is commonly used on cable news networks that need to fill hours of programming.
Weiss has acknowledged to colleagues that she’s not familiar with the process of moving the assembly line of stories from the assignment stage, through the reporting and editing process and onto a schedule of programs, some of which run 365 days a year.
Her lack of experience was glaring in her handling of “60 Minutes,” the network’s most prestigious and profitable program. CBS News staffers were stunned when she decided to pull a segment on the abuses at an El Salvador prison used by the U.S. government to detain undocumented immigrants from Venezuela.
“CBS Evening News” anchor Tony Dokoupil and the network’s chief national correspondent Matt Gutman.
(CBS News)
The story had been researched and reported for months by correspondent Sharyn Alfonsi and fully vetted by the standards department when Weiss yanked it one day before its originally scheduled Dec. 21 air date. Alfonsi called the move political and the conflict added to the narrative that Weiss is trying to placate the White House.
Weiss insisted Alfonsi’s story needed more reporting including an interview with an administration official, even though the White House had already declined requests to participate. The segment ran a month later with only minor additions to the reporting which executives inside the news division say was not worth the public drama created by Weiss’ editorial decision.
At the meeting, Weiss acknowledged she would have approached the matter differently but defended her intent.
“It’s always gonna be my prerogative as editor of this newsroom to say that I want more information, and to push to get more information,” she said. “Now, am I ever going to hold something again after it has been put out there with promos? I don’t want to make that exact same decision again, no I do not.”
Weiss added that Paramount management had no influence on her decision to hold Alfonsi’s story. “I wanna just say this as plainly and clearly as possible,” she said. “I was not pressured by David Ellison or anyone else.”
She said the journalism standards at the network have not changed since she arrived, but believed the division has been more welcoming to a wider range of viewpoints.
“I don’t think a year ago CBS News would’ve had [former National Rifle Assn. spokesperson] Dana Loesch, let’s say, on the morning show,” Weiss said. “I think that’s something to be proud of.”
Weiss praised the revamped “CBS Evening News with Tony Dokoupil” — with a new anchor she handpicked, even though critics have been harsh and the ratings have slipped. All three of the major network evening newscasts are down in January compared to a year ago, but CBS is off the most at around 20%.
Segments on the program, such as Dokoupil’s frothy tribute to Secretary of State Marco Rubio and a brief item on the fifth anniversary of the Jan. 6 insurrection in Washington that had President Trump calling it the fault of the Capitol police, were widely panned. But the attention has died down as the program has settled into being a straight-ahead newscast.
While the fiascoes involving “60 Minutes” or the first week of the “CBS Evening News” have been demoralizing, some journalists in the division are still hopeful Weiss can be a catalyst for change and want her to succeed.
But her rocky start will be tough to turn around according to Tom Bettag, a former network news producer who is now a lecturer at the University of Maryland’s Philip Merrill College of Journalism.
“Weiss started off so miserably with ’60 Minutes’ and the Dokoupil launch, that you wonder if she can redeem herself,” Bettag said. “You only get one chance to make a first impression.”
Weiss isn’t the first executive to be put in charge of a TV news operation without any hands-on experience. It was not easy for the others, either.
Michael Gartner, a Pulitzer Prize-winning newspaper editor was appointed to oversee NBC News in the mid-1980s. During his turbulent five-year tenure, he struggled with talent egos as he tried to get costs under control. Walter Isaacson came from Time magazine to run CNN in 2001. He was gone after 18 months, expressing bewilderment over the public scrutiny of every network move.
Weiss’ previous management experience was running the Free Press, which has a staff of 60 compared to the sprawling CBS News operation with more than 1,200 employees around the world.
Weiss is also an anomaly as she comes to the job with an established point of view. Her journalism career was as an opinion writer before she launched the Free Press. The site gained a following for its criticism of the progressive left and purveyors of so-called “woke” policies.
Weiss has been vocal in telling CBS News employees that the public has less trust in legacy media, an assertion that is often pushed by Trump and his supporters. (She told the meeting that the network needs to target “independents … those who want to equip themselves with all the facts, who are curious to hear what’s going on, even if it offends their sensibilities.”)
Weiss carries that agenda while she tries to overcome the whispers of “she’s not one of us” at CBS News, which even loyal insiders believe leans too heavily on its storied history defined by 20th century journalism icons such as Walter Cronkite and Edward R. Murrow.
“I think this place has allowed the ghosts of the past to walk these halls a little too much,” one CBS News journalist said. “They need to be acknowledged, but not obsessed over every day. The New York Yankees don’t sit around dwelling on Babe Ruth every day. They focus on winning.”
While “60 Minutes” and “CBS Evening News” are the editorial backbone of the division and are getting the bulk of Weiss’ attention, the division also has to chart a future course for “CBS Mornings,” a major revenue generator. Co-host Gayle King’s contract is up in May and last year there were leaks to an industry trade suggesting that Paramount wants her to return in another role and presumably a lower salary.
“CBS Mornings” is in third place behind ABC’s “Good Morning America” and NBC’s “Today,” but still has a following and King is the most recognizable star in the news division. Morning show viewing is habitual and a change in the host chair could lead King’s fans to abandon the program. Once viewers leave, it’s hard to get them back, especially in today’s fragmented media environment where consumers have a seemingly endless array of alternatives.
At the town hall, Weiss gave a positive shout-out to King, who is angry over the press reports. “I’ve had people come and pet me like a puppy and say, ‘I’m sorry that you’re leaving CBS, I won’t watch those guys anymore,’” King said.
“I just want everyone here to know that she’s absolutely beloved,” Weiss said. “And we see her long into the future here at CBS.”
People close to the morning program who were not authorized to comment publicly believe King would return for another contract. But the network is already preparing for the future if King does depart.
Adriana Diaz and Kelly O’Grady were named co-hosts of “CBS Saturday Morning” and will be the principal fill-ins for King on the weekday program, clearly an attempt to get them familiar with the audience. “It’s a very explicit attempt to start building a bench,” said one insider.
Before the town hall meeting on Tuesday, many CBS News veterans were frustrated that Weiss had not addressed the entire division during the first three months of her tenure. King, who told colleagues she was impressed overall with the presentation, told Weiss they needed to meet sooner.
“For many people — they’ve never even heard your freakin’ voice,” King said. “So it’s good to hear, to see you’re a real person and this is what you want.”
Don’t stop me if you’ve heard this one before, since I’m admittedly something of a broken record on the subject, but I very much prefer Marvel’s television series, which tend to be fleet, original and unpredictable, to its movies, which tend not to be. “Loki,”“Ms. Marvel,”“Moon Knight,”“Echo,”“WandaVision” and its spinoff “Agatha All Along” — all (among others) are worth watching, even the ones that are dumped after a season.
Developing longer stories with less money, the TV shows makers need to be inventive, creative with their resources, so they invest in characters and ideas rather than special effects and action. They focus on secondary or ensemble figures who would never be given a theatrical feature of their own to carry, are particular about culture and family and place, and are often less contingent on the Marvel Cinematic Universe, with its phases and stages, its crossovers and cross-promotions and long-range marketing plans. At once higher concept and more grounded than the movies, they’re interesting on their own, to the point where, when they finally hitch on to the Marvel multi-mega-serial train, I find them disappointing.
“Wonder Man,” whose eight episodes premiere all at once Tuesday on Disney+, is perhaps the most grounded of these series. Created by Destin Daniel Cretton (“Shang-Chi and the Legend of the Ten Rings”) and Andrew Guest (who has written for “Community” and “Brooklyn Nine-Nine”), the series is a (generally) sweet, disarming tale of actors in Hollywood, tricked up with picture-business details that you don’t need to be au fait with the MCU to appreciate. There are things it might be helpful to know, but you can work out everything that matters through context. (Locals will enjoy playing Spot the Locations.)
Yahya Abdul-Mateen II plays Simon Williams, who as a child became a fan of a B-movie superhero called Wonder Man — not a “real” superhero, in this reality, merely a fiction. Now in his 30s, he’s a struggling actor in Hollywood, good enough to land a small part in an “American Horror Story” episode, but not clever enough to keep from slowing down the production with questions and suggestions when all he needs to do is deliver a couple of lines before a monster bites his head off. He loses the part and a girlfriend directly afterward.
Taking in a revival house matinee of “Midnight Cowboy,” he meets Trevor Slattery (Ben Kingsley), who is back from having played the Mandarin — that is, he acted the part of a terrorist called the Mandarin, believing it was just a job — in “Iron Man 3” and providing appealing comedy relief in “Shang-Chi and the Legend of the Ten Rings.” The character here is more fleshed out, something of a mess (but 13 years sober, he likes to point out), serious but not a joke. Before it all went wrong, Trevor played King Lear (in Croydon), appeared in “Coronation Street” and in a movie with Glenda Jackson, was off-off-off Broadway in “The Skin Our Teeth” and briefly had the lead in a hospital show with Joe Pantoliano, who’s very funny playing himself.
Trevor Slattery (Ben Kingsley), left, and Simon Williams (Yahya Adbul-Mateen II) team up in “Wonder Man.”
(Suzanne Tenner / Marvel Television)
Slattery tells Simon that European art director Von Kovak (Zlatko Burić) is rebooting Wonder Man, a role Simon feels born to play. He makes an end run around his unconvinced agent, Janelle (X Mayo), and wheedles an audition — where he again meets Trevor, auditioning for Barnaby, Wonder Man’s pal, or sidekick or something. There are wheels behind wheels in this setup, some of which could use a little grease, but for most of the series they do their squeaking off to the side. It’s a love story, above all — “Midnight Cowboy,” not an accidental choice, is more of a touchstone than any Marvel movie.
Simon does have powers — things shake, break or explode around him when he’s upset, and his strength can become super in a tight spot — which puts him in the sights of the Department of Damage Control, embodied by Arian Moayed as P. Cleary, who would like to contain him. But he struggles to keep them secret, especially in light of something called the Doorman Clause — its history established in a sidebar episode, a cautionary Hollywood fable with Josh Gad as himself — which prohibits anyone with super powers from working in film or television, all Simon lives for.
There is little in the way of action, and you won’t miss it. The fate of the world is never in question, but a callback for a second audition means everything. The only costumed characters are actors playing costumed characters; the only villains, apart from the bureaucracy that seeks to bring him in, are Simon’s own self-doubt and temper. As things progress, Trevor will become a mentor to Simon. As is common in stories of love and friendship, a betrayal will be revealed, but if you have seen even a few such stories, you know how that’s going to go, and will be glad it does.
Whether discussing acting techniques or the traffic they’re stuck in on Hollywood Boulevard (Trevor: “Probably the Hollywood Bowl.” Simon: “It’s too late for the Bowl.” Trevor: “It’s usually the Bowl. I remember seeing Cher there once — breathtaking. Chaka Khan, now there’s a woman”), Abdul-Mateen and Kingsley work well together; their energies are complementary, laid back and loose versus worked up and tight and, of course, each will have something to teach one another about who they are and who they could be. I was genuinely anxious for them, as friends, more so than just wondering how such and such a superhero (or team) might defeat such and such a supervillain (or team).
“Our ideas about heroes and gods, they only get in the way,” says Von Kovak, putting a room of hopeful actors through their paces, and essentially speaking for the series he’s in. “Too difficult to comprehend them. Let’s find the human underneath.”
