From former co-stars reuniting at the Beverly Hilton to winners answering questions from press backstage, Times reporters share highlights from Hollywood’s big night.
Seth Rogen takes notes for “The Studio” Season 2
Seth Rogen and “The Studio” writers had their eyes peeled for new material at Sunday’s ceremony and in the days leading up to it.
“This is good poaching ground for us,” the first-time winner said in the Globes press room after the show’s comedy series win. (Backstage, he joked that “The Studio” crew’s appearance was coincidentally timed with “One Battle After Another’s” win.)
Rogen added that celebrities regularly approach him to request cameos in “The Studio”: “A lot of the studio heads want to be on the show, and some of them will be.”
Episode 8 of the Apple TV comedy’s first season was set at the Golden Globes and featured guest appearances by actors Adam Scott and Zoë Kravitz as well as Netflix co-Chief Executive Ted Sarandos. Perhaps its sophomore season, which begins filming next week, will include a Beverly Hilton hotel reprise. — Malia Mendez
“Set It Up” stars Glen Powell and Zoey Deutch reunited at the Golden Globes.
(Allen J. Schaben / Los Angeles Times)
A “Set It Up” reunion
There was a “Set It Up” reunion by the bar when Zoey Deutch and Glen Powell — along with his parents — reconnected while trying to order drinks. Powell’s mom gushed at Deutch, saying Powell told her about Deutch’s film, “Nouvelle Vague.” As Powell placed Deutch’s drink order, the actress spoke with his mom about her next project. Meanwhile, a few steps away, pals and “SmartLess” co-hosts Jason Bateman and Will Arnett made a beeline for the sushi bar. “This is what I’m after,” Arnett said as he grabbed a serving of fried rice with tuna — quickly going back for seconds. Bateman took a plate — “I had a salad at like 1 p.m.,” he reasoned. — Yvonne Villarreal
Joe Alwyn, Noah Jupe, Chloé Zhao, Jessie Buckley, Paul Mescal and Jacobi Jupe backstage at the Golden Globes.
(Allen J. Schaben / Los Angeles Times)
“Grief is love”
After their win in the show-closing drama film category, the cast of “Hamnet” took to the press room to reminisce about the warm atmosphere on the set of the historical drama.
Director Chloé Zhao clutched her chest as Jacobi Jupe, 12, who plays the titular Hamnet, said, “This film is all about grief and love, and grief is love.”
“On this set, everyone was family. There wasn’t one person who was rude or mean, and we all worked together to create this incredible film,” he said.
Behind Jupe, his co-stars Joe Alwyn, Jessie Buckley — who also won the drama actress Golden Globe — and Paul Mescal looked on like proud parents, hugging each other. — M.M.
Ludwig Goransson’s win for original score was cut from the CBS telecast.
(Rich Polk / 2026GG / Penske Media via Getty Images)
Original score axed from telecast
Ludwig Göransson won the Golden Globe for original score for “Sinners,” beating out Alexandre Desplat for “Frankenstein,” Jonny Greenwood for “One Battle After Another,” Kangding Ray for “Sirât,” Max Richter for “Hamnet” and Hans Zimmer for “F1.”
The award was handed out off air, presumably to trim time from the telecast. — Josh Rottenberg
Noah Wyle accepts the Golden Globes for actor in a TV drama for his role in “The Pitt.”
(Rich Polk / 2026GG / Penske Media via Getty Images)
Noah Wyle almost missed his win
As the show began again, Noah Wyle and his wife, Sara Wells, were prevented from making their way back to their seats just before his category was called. They finally let him rush back to his table, settling in just before his name was called. — Y.V.
“The Secret Agent” director Kleber Mendonça Filho and producer Emilie Lesclaux hold their award for non-English-language film.
(Allen J. Schaben / Los Angeles Times)
‘The Secret Agent’ director‘s call to action
Kleber Mendonça Filho, the Brazilian director of “The Secret Agent,” which took home the Golden Globe for non-English-language film, in the press room cited Brazil’s past corrupt leadership as he spoke about the political power of film.
“Cinema can be a way of expressing some grievances that we all have in terms of the society we live in,” Mendonça said.
“I would particularly address young U.S. filmmakers … there’s a lot of technology to express yourself, and I think this is a very good time to express yourself,” the director continued. “That is what I want to see from U.S. filmmakers.” — M.M.
Stellan Skarsgård won one of the first awards of the night for his role in “Sentimental Value.”
(Allen J. Schaben / Los Angeles Times)
Stellan Skarsgård teases “Mamma Mia!” sequel
Back in the press room after his surprise Golden Globes win for supporting movie actor, Stellan Skarsgård kept mostly mum when asked for an update on the reported “Mamma Mia!” sequel in the works.
However, Skarsgård did assert that despite her death in the franchise’s second installment, “Mamma Mia! Here We Go Again” (2018), Donna Sheridan’s character could always be brought back with the magic of the movies — huge news for Meryl Streep die-hards (pun intended). — M.M.
Goodbye from Globes
As the ceremony came to a close, the gentle chaos of stars — “The Smashing Machine’s” Emily Blunt linked arms with husband John Krasinski (playfully singing upon his exit) while “Song Sung Blue’s” Kate Hudson, “Severance’s” Adam Scott and “Hacks’” Jean Smart filtered behind them — made their way to the doors to start their after-party journeys as ushers shouted “walk and talk, walk and talk.” Gayle King, gripping the train of her beaded dress, walked cautiously in her heels. Wagner Moura, carrying the winner’s envelope that listed his name, waved to folks on his way out. “White Lotus” stars Jason Isaacs and Aimee Lou Wood shared a boisterous laugh, while Powell made sure his parents were in his range of sight. — Y.V.
Good Morning Britain host says she’s ‘more than happy’ with the ITV breakfast show’s new set as viewers slam the ‘small’ and ‘cramped’ studio
The ITV morning show has moved location as part of the broadcaster’s cuts.
(Image: ITV)
ITV Good Morning Britain presenter Susanna Reid has responded to criticism that the breakfast programme’s revamped studio appears “cramped” after viewers flocked to social media to voice concerns about the reduced space.
The programme made its comeback on Monday (January 5) for its inaugural 2026 broadcast, showcasing a completely refreshed appearance.
The flagship morning programme has been extended by half an hour, whilst Lorraine has been shortened by 30 minutes following a scheduling overhaul that was revealed in May 2025.
As part of these alterations, production has relocated from ITV‘s studios to ITN’s headquarters in Central London, with other daytime programmes now being recorded at The H Club in Covent Garden.
The redesigned studio arrangement positioned Susanna and co-presenter Ed Balls in much closer proximity to their guests than previously, including Conservative leader Kemi Badenoch, reports the Express.
Nevertheless, Susanna appears unbothered by the more compact setting and took to X to share coverage of the changes whilst voicing her enthusiasm. “@gmb studio = big headlines! More than happy to be closer to our brilliant guests…,” she posted.
Her message followed viewers taking to X to criticise the fresh appearance, with one commenting: “ITV cuts showing in the new set. So small, looks cheap and people sitting on top of each other.”
Another commented: “The problem with the smaller studio is when there are four people at the desk, everyone leans outwards when speaking to look directly at those around them. Unfortunately, in a single camera shot, it looks like we are constantly looking at human leaning towers.”
A third viewer added their two pence: “It’s too small a table. Preferred the other one. You’re all on top of each other.”
Another chimed in with: “Sorry, but not a fan of the new set. It looks really small and cramped, and the London skyline behind where you sit looks like a very bad print. It used to look like a decent photograph.”
The last episode from the old studio aired on New Year’s Eve, leaving the presenters and crew emotional as they bid farewell to the familiar set. The move resulted in at least 220 job losses as part of cost-cutting measures.
Susanna Reid took to Instagram later that day to commemorate the moment, expressing her gratitude to those who weren’t making the transition with them.
Sharing a series of snaps, including a group photo of the entire team before the set was taken apart, she penned: “NEW YEAR’S EVE! A fabulous gathering of the BEST team in television @gmb and a farewell to those off to new adventures..
“I’ll be back in January in our new home. Goodbye to those leaving and a huge thank you to everyone who has made – and those who continue to make – GMB such a fantastic programme – and to Television Centre for being our home for the past few years.”
Good Morning Britain airs weekdays from 6am on ITV1 and ITVX.
Liam Gallagher and John Squire at the funeral service of former Stone Roses bass player Gary ‘Mani’ MounfieldCredit: PALiam has been offered the chance to make a second record with rocker JohnCredit: Getty
“John has told Liam that he has a batch of songs ready to record and that he’d love to have him on board.
“Although Oasis is Liam’s priority, he doesn’t want to take a year off making music.
“Since he went solo in 2017, he has released music almost every year. Liam was proud of what he and John created in the studio and is up for a second record if he can find the time to make it work.”
Their self-titled debut album was entirely penned by John, who also played on the Stone Roses’ 1994 record Second Coming.
Despite writing songs in Oasis and as a solo artist, Liam has always maintained he is content to be a singer rather than a songwriter.
He said: “I never tried to write songs to compete with big brother or to get publishing rights.
“Sometimes, you play the guitar at home and something happens.
“You write a little song and that’s it, but I’ve never been into it. I’m not a songwriter.
“I prefer singing songs. I don’t care if I never write another song again, as long as I can sing it that’s all that matters.”
Fans are now eagerly awaiting news of Liam and Noel’s plans for the coming months.
My phone is still blowing up weekly with gossip about what’s coming next, including potential shows at the Etihad in Manchester and massive concerts at Knebworth.
There is also Steven Knight’s amazing film about Noel and Liam’s reunion, which I hope will see the light of day later this year.
Steven and his team filmed the brothers non-stop in rehearsals and on the road.
For us fans, it will be a must-watch for 2026.
BIFFY YOUNG BOOST
AFTER three decades together, Biffy Clyro’s fanbase is bigger than ever among young people.
Frontman Simon Neil said in an exclusive interview: “It’s really encouraging because for a few years – I guess the last ten – guitar music hasn’t seemed as relevant or mainstream.
Simon Neil, James Johnston and Ben Johnston of Biffy ClyroCredit: Getty
“But seeing these 15 and 16-year-olds starting bands, picking up instruments and the amount of talent out there, that’s what blows us away.
“We learnt how to play music together and so many of these younger folk are so natural with it, so we feel really privileged to still be in this world and to see so much inspiring stuff coming through.”
Simon said: “I was speaking to Villanelle the other week and they really love their rock music.
“It was nice to chat to them and realise how much they get it. They are really coming from that American, almost grungy, kind of stuff. So I said I might go and write a tune with them.
“If anyone from a younger generation wants to work, it’s really nice to.
“There’s just so much talent.
“We can learn so much from working with someone younger, and hopefully they learn a little something from working with us.”
Miley hints at Hannah
MILEY CYRUS will mark the 20th anniversary of the role that launched her to stardom – Hannah Montana.
The singer is planning to celebrate the milestone of Disney’s TV show about a teenager who lived a double life as a popstar.
Miley Cyrus will mark the 20th anniversary of the role that launched her to stardom – Hannah MontanaCredit: AlamyKate Hudson attends Palm Springs Film FestivalCredit: GettyPaul Mescal was also at the festivalCredit: Getty
Miley looked chic in a black suit and open shirt as she appeared at the Palm Springs Film Festival over the weekend, along with Paul Mescal and Kate Hudson and said of the plans: “We’re working hard on them.” She added: “Many new things are coming.
“The next few months will be focused on Avatar until the end of March, when we’ll shift our focus to Hannah Montana.”
On the role that made her the youngest person to be recognised as a Disney Legend in 2024, Miley said: “A lot of my time right now is being spent on how I can honour Hannah.
“Without Hannah, there wouldn’t be this, this me. It’s still crazy to think I started as a character I thought was going to be impossible to shed.”
Glen was the original bass player in the punk group and co-wrote ten of the 12 songs on the band’s only official album, Never Mind The Bollocks, Here’s The Sex Pistols.
Sex Pistols rocker Glen Matlock doesn’t want the band to ever become holograms – because he’d be ditched for Sid ViciousCredit: Getty
But he left the band in 1977 to be replaced by Sid. Glen’s bandmate Steve Jones is keen to see the Pistols become holograms, just like the Abba Voyage show, and has told Glen that any AI version would see Sid back in the band.
Glen said: “I’ve had the discussion with Steve and he thinks it’s a good idea.
“And I said, ‘The thing is, Steve, you’ll probably do Sid, won’t you?’. And he said, ‘Well, yeah, that’s true’.”
JENNIFER STANDS UP FOR FANS
JENNIFER LOPEZ is making sure nothing stops fans having a good time at her Las Vegas residency.
J-Lo is in a run of shows at Caesars Palace at The Colosseum, and has put up a sign telling crowds she actively wants them to stand and dance.
Jennifer Lopez is making sure nothing stops fans having a good time at her Las Vegas residencyCredit: Getty
Adele famously paused one of her shows at the same venue after staff repeatedly told one fan to sit down during her concert.
The furious star warned them to leave him alone and let him dance, saying the enthusiastic fan had been “bothered all night”.
It seems J-Lo does not want a repeat, with signs reading: “Please be advised that our guests are permitted and encouraged to stand during the performance.”
Good for her.
EX-FUN Lovin’ Criminals frontman Huey Morgan has joined Virgin Radio UK from BBC 6 Music.
He will host weekend mornings from 10am until 2pm, kicking off this Saturday.
The lovely Emma B is also coming to the station alongside Ana Matronic, who takes over Saturday nights from 6pm to 10pm.
MOLOTOV DUO’S LIFE ON TOUR
THE MOLOTOVS have today released their new single, Get A Life.
The track is taken from their upcoming album, Wasted On Youth.
The Molotovs have today released their new single, Get A LifeCredit: Getty
Siblings Matt and Issey Cartlidge dropped the song as they gear up for a massive month of gigs, kicking off at King Tut’s in Glasgow tomorrow.
The rockers, who count Blondie, The Libertines and Iggy Pop among their fans, will then play shows across the UK, including in Leeds, Nottingham, Birmingham, Southampton, Cardiff and London.
The Molotovs are one of the most exciting bands I’ve seen live in yonks.
So if you get a chance to check them out, it’s well worth the price of a ticket.
COLDPLAY £2BN GIGS
COLDPLAY are officially the biggest British earners on the road since the start of the millennium.
Chris Martin and his band have now taken almost £2billion from their tours across the world.
Chris Martin and Coldplay have now taken almost £2billion from their tours across the worldCredit: Getty
New stats from Pollstar have revealed Coldplay, along with U2, The Rolling Stones, Ed Sheeran and Sir Elton John, have all hit the billion quid mark since 2000 thanks to tours alone.
Taylor Swift is the biggest-ever earner, making £2.33billion from her 575 shows.
Jeff Kelly, from US entertainment firm PRrppd, told me: “Coldplay’s success is astonishing.
“They have barely stopped working over the last 25 years and have grown every year in their appeal to audiences.
“For them to generate almost two billion pounds speaks volumes, especially given that their average ticket price is so reasonable.
“The British Isles is incredibly well represented in that top ten chart, with half the spots.
“The last quarter of a century shows that Brits still serve up incredibly powerful music and connect to fans who want to see them live.”
The week in bizness…
TOMORROW: Ricky Gervais starts the first of four intimate shows at the Leicester Square Theatre in London.
FRIDAY: Paul Mescal and Jessie Buckley hit screens in critically acclaimed movie Hamnet. Sly Stallone’s Giant is also released.
SATURDAY: BLUE are signing copies of album Reflections at Rough Trade West in Notting Hill after its release on Friday.
SUNDAY: The 83rd Golden Globes get under way in LA, with Leonardo DiCaprio’s black comedy One Battle After Another expected to win big after getting nine nominations.
John Mayer calls it “adult day care”: the historic recording studio behind the arched gates on La Brea Avenue where famous musicians have been keeping themselves — and one another — creatively occupied since the mid-1960s.
Known for decades as Henson Studios — and as A&M Studios before that — the three-acre complex in the heart of Hollywood has played host to the creation of some of music’s most celebrated records, among them Carole King’s “Tapestry,” Joni Mitchell’s “Blue,” Guns N’ Roses’ “Use Your Illusion” and D’Angelo’s “Black Messiah.”
In 1985, A&M’s parquet-floored Studio A was where Quincy Jones gathered the all-star congregation that recorded “We Are the World” in a marathon overnight session; in 2014, Daft Punk evoked the studios’ wood-paneled splendor in a performance of “Get Lucky” with Stevie Wonder at the 56th Grammy Awards.
A soundstage on the property has seen nearly as much history, including filming for TV’s “The Red Skelton Show” and “Soul Train” and the production of the Police’s MTV-defining music video for “Every Breath You Take.” More recently, Mayer and his bandmates in Dead & Company took over the soundstage to workshop their cutting-edge residency at the Las Vegas Sphere, not long after Mayer cut his most recent solo LP, 2021’s “Sob Rock,” at Henson.
“I used to come here even if I didn’t quite have anything to do,” says the Grammy-winning singer and songwriter known for his romantic ballads and bluesy guitar heroics. “I just wanted to be around music — to have a place to go as an artist to find some structure in my life.”
Now, with an eye on preserving the spot at a moment of widespread upheaval in the entertainment industry, Mayer and his business partner, the filmmaker McG, have finalized a purchase of the lot, which they bought for $44 million from the family of the late Muppets creator Jim Henson and which they’ve renamed Chaplin Studios in honor of the silent-film giant who broke ground on it more than a century ago.
Their vision for Chaplin, which takes up half a city block between Sunset Boulevard and De Longpre Avenue, is ambitious. “We’re doing our best to create kind of a Warhol’s Factory thing of like-minded artists bumping into each other to do their best work possible,” says McG.
And the duo already have some powerful support behind them.
“A lot of my friends and I were very happy to see that Henson was being taken over by some great people,” Paul McCartney tells The Times in an email. The rock legend, who made 2001’s “Driving Rain” and 2018’s “Egypt Station” at Henson, admits that news of the studio’s changing hands left folks in his world “worried that it might not be handled sensitively.”
“However, we realize now we have no reason to be as John Mayer and McG seem to be doing a fantastic job in keeping the famous studio alive.”
Still, the challenges they face are real: Thanks to advances in cheap audio equipment — and with the economics of streaming having cut into once-lavish recording budgets — even A-list artists often opt these days to record at home rather than shell out to book into an old-line studio like Chaplin. (Consider that at least two of the songs nominated for record of the year at February’s Grammys ceremony — Billie Eilish’s “Wildflower” and Chappell Roan’s “The Subway” — were constructed primarily at home.)
“Everyone with a computer and a microphone has a studio,” Mayer says, and that’s not even accounting for the proliferation of music conjured up by AI out of the digital ether.
On the film side, the ongoing exodus of production from L.A. raises natural doubts about the ability to keep a soundstage busy with clients — doubts, one presumes, that led the owners of Occidental Studios near Echo Park to put that lot up for sale last summer.
“The real estate guys weren’t necessarily saying what a prudent business move this was,” says McG, who directed the 2000 blockbuster “Charlie’s Angels” and executive produced TV’s “The O.C.” “But it’s not about the dividend or the monthly spit-out. I admire John for throwing down.”
Says Mayer: “I love doing things that people tell me aren’t gonna work. That’s how I know I’m onto something.”
McG inside the soundstage at Chaplin Studios.
(Jason Armond / Los Angeles Times)
Mayer, 48, and McG, 57, are lounging on a December afternoon in Mayer’s ranch-hand-chic office, which occupies what once was the mill where wood for Charlie Chaplin’s movie sets was cut. Last night the co-owners threw a holiday party for the studio’s staff and friends; McG breakdanced — “My neck hurts today, but I got through it,” he says — while Mitchell turned up and played the piano in Mayer’s personal Studio C, where she liked to work in the ’70s.
As we talk, Mayer is sipping no fewer than three different smoothies — an approach he says he picked up from the late Apple founder Steve Jobs, who evidently would order multiple smoothies to ensure he wasn’t missing out on a new discovery.
“There’s something I relate to about that,” Mayer says, his Double RL boots propped on a coffee table in front of him. “I’m gonna have this smoothie and a little bit of these other smoothies to figure out: Does that smoothie beat this smoothie as my all-time-favorite order? What if there’s a smoothie out there in the world that you haven’t tried yet that could be your favorite?”
He puts down one cup and picks up another. “This one has wheatgrass in it,” he reports. “Not for me.”
The singer met McG, whose real name is Joseph McGinty Nichol, in 2024 through the studio’s longtime manager, Faryal Ganjehei. Each had ample experience on the lot: In the 1990s, McG shot music videos on the soundstage for the likes of Sublime and Smash Mouth; Mayer first recorded at Henson in 2005 when he cut a version of “Route 66” for the soundtrack to “Cars.”
“You’d think John and I would have known each other just from around here or from Ari Emanuel’s or whatever,” McG says. “But this was actually a bit of an arranged marriage” between two people who’d separately heard rumblings that the Jim Henson Co. might be looking to move its operations. (The company, which makes a variety of children’s television shows, is now headquartered at Studio City’s Radford Studio Center.)
“One year in, we’re still performing vigorous lovemaking,” McG says of his and Mayer’s union.
“Can’t wait to see that in Times New Roman,” Mayer adds.
Herb Alpert, left, and Jerry Moss at A&M headquarters in 1966.
(Bettmann Archive / Getty Images)
Charlie Chaplin, who was born in London, began building the lot in 1917 in a white-and-brown English Tudor style; he went on to direct some of his best-known films, including “Modern Times” and “The Great Dictator,” on the property. After Chaplin left the United States in 1952, the lot was used for episodes of “The Adventures of Superman” and “Perry Mason.”
In 1966, Herb Alpert and Jerry Moss bought the place and made it the base for their A&M Records; they converted two of the lot’s soundstages into high-end recording studios that drew the the likes of Sergio Mendes, the Carpenters, Stevie Nicks, U2 and John Lennon. Henson took over in 2000 and continued to cultivate what many of the studio’s regulars describe as a cozy family vibe.
“It was truly my home away from home,” says John Shanks, who produced hit records by Sheryl Crow, Miley Cyrus and Ashlee Simpson, among many others, at Henson. “My kids celebrated birthdays there — they knew where the candy was in Faryal’s office.”
Mayer and McG say they’re putting $9 million into improvements on the lot — “an up-to-speed-ovation,” the director calls it — but have no plans to make significant structural or stylistic changes. Ganjehei’s staff of around 22 engineers, techs and runners will stay on, as will artists who maintain offices and studios on the property, among them Daft Punk’s production company and the duo of Wendy Melvoin and Lisa Coleman.
“We’ve all seen places we loved get renovated and then you go, ‘Yeah, I don’t like it there anymore,’” McG says.
Such as?
“The Four Seasons on Doheny,” Mayer responds. “They took out the old dining room and put in a Culina, and it’s no fun anymore.” Of Chaplin, he says, “This place has a beating heart. All we have to do is effectively not kill it, right?” He laughs. “Just stay away from the big red button that says, ‘I got an idea.’”
Adrian Scott Fine welcomes that attitude.
“It’s what we like to hear — it’s not what we often hear,” says the president and chief executive of the Los Angeles Conservancy, a nonprofit dedicated to historic preservation. “When places transfer out of long-term stewardship, that always raises our spidey senses: What does this mean for the future? Sometimes they go into safe hands with the next owner. Oftentimes it means radical change, loss of character, maybe demolition or redevelopment. So we’re very hopeful when someone says that because it doesn’t happen enough in L.A.”
John Mayer, right, and McG inside Studio B at Chaplin Studios.
(Jason Armond / Los Angeles Times)
As a show of historical continuity, Mayer and McG initially wanted to call the property Chaplin A&M. But Mayer says he couldn’t get Universal Music Group, which controls the A&M brand, to sign off on the name.
“I’ve never seen fruit so close to the ground before,” he says of the idea to bring back A&M. “Everyone I spoke to did the thing that people at record companies do, where it starts to get very gauzy as it moves up the flagpole: ‘Listen, I get it, but I can’t get the person above me to see it.’” (Moss died in 2023, and a spokesperson for Alpert said he wasn’t available for an interview. A UMG spokesperson didn’t respond to a request for comment.)
More disappointing, Mayer and McG say, was the Henson family’s decision to take down the 12-foot statue of Kermit the Frog — dressed as Chaplin’s Little Tramp character — that presided for 25 years over the lot’s front entrance.
“It was important to the Hensons to have Kermit — that was expressed very early on,” Mayer says of the statue, which the family is donating to the Center for Puppetry Arts in Atlanta. “We might have had the delusion of a reprieve. But they didn’t change their mind.”
“I talk to people I know and they say, ‘My kids go to school on La Brea, and every day we drive by and say, “What’s up, Kerms?”’” McG says. “It saddens me that the people of Los Angeles won’t be able to share in Kermit looking over them. If I sold Randy’s Donuts to a barbecue place, I’d hope the barbecue guy would keep the giant doughnut. It’s in the ‘I Love L.A.’ video with Randy Newman, OK?
Until recently, a 12-foot statue of Kermit the Frog presided over the front entrance to the Henson property on La Brea Avenue.
(AaronP / Bauer-Griffin / GC Images)
“This isn’t a McG thing,” the director adds. “It’s not a John Mayer thing. With the greatest respect, it’s not even a Henson thing. Kermit, to me, had transcended all of that and become a part of the fabric of this community.”
Did they make that emotional case to the Hensons?
“We tried,” Mayer says.
And it fell on deaf ears?
“Indeed,” says McG. (A spokesperson at the Jim Henson Co. declined to comment.)
Mayer has seen the comments on social media blaming him for Kermit’s disappearance, which is no doubt why he’s eager to get the word out that it wasn’t his doing. Yet the singer — a tabloid fixture since the days when he dated Taylor Swift and Jessica Simpson — says he’s not tortured by his haters.
“They should be worried about what I think of them,” he says with a laugh. “Honest to God, sometimes I read stuff and I go, ‘If only you knew …’ And I don’t have to apply that to myself as a balm so I stop feeling bad. I’m at the age now where I’ve seen everything you could possibly write, and I’ve survived.”
Not so long ago, Mayer would happily jump into the rough and tumble of online discourse. “But don’t you find yourself scrolling away from things so obviously designed to outrage you?” he asks. The sun is starting to go down outside — this is the time of day, he says, when Chaplin’s bucolic grounds remind him of Montecito’s San Ysidro Ranch — and he’s getting slightly philosophical.
“Millennials had their brains ripped out by the things they read. Gen Z is beginning to go, ‘I think a lot of these are bots.’ And I think Gen Alpha will be the generation that looks and says, ‘There’s a whole bunch of clankers writing bulls—. We don’t care.’
“My years of trash talking or being critical of any artist in any way — I think they’re over,” he says. “It never felt as good as it feels to run into people in the hallway and be glad they’re here.”
The sense of community Mayer feels — and is trying to nurture — at Chaplin is one reason he’s optimistic the studio will succeed.
“I think we’re leaving an era of ‘I did it myself — aren’t you amazed?’ Look at Dijon onstage at ‘SNL,’” he says of the R&B singer and producer who led an expansive group of musicians through a vivid TV performance in early December. “We’ve heard our hands applauding the fact that people have done it alone, and now we’re turning the corner and loving collaboration again. And you can’t come into a place like this and do it alone.”
“I love doing things that people tell me aren’t gonna work,” John Mayer says.
(Jason Armond / Los Angeles Times)
Even so, bills wait for no vibe shift. Beyond the business of recording, Mayer and McG are eager to make Chaplin’s soundstage a destination for acts in need of rehearsal space — AC/DC was recently in there practicing — as well as for certain high-end live events.
“If Anna Wintour’s gonna do ‘Women of Hollywood,’” McG says, “I need Anna Wintour going, ‘John, it’s got to be at your place.’”
Mayer says he’s fantasized about a sitcom or a talk show taking up residence on the soundstage.
“I hear John’s pretty good friends with Andy Cohen,” McG says of the Bravo host. “We’ll see where his show goes.”
“He looked at it,” Mayer says. “I think he needed more space to be able to do ‘Real Housewives’ reunions. Think about the number of Star Waggons you need for that.”
Yet music remains at the heart of Mayer’s ambitions for Chaplin, which he says he intends to own long enough to “sit down in a chair for a documentary several times, talking about other people’s records that were made here.” (Mayer himself says he’s been “defending the calendar of 2026” to record an album of his own.)
“Every time an artist drives through that gate, they’re taking an emotional risk,” he says. “Hoping they have a song in them but not being sure — it’s a very vulnerable state to be in. Everyone’s walking around, bumping into walls, thinking about what the rhyme is to that word. I want to make this the greatest place you could ever struggle.”
Alicia Piller was giddily flitting around her Inglewood live-work studio holding up resin-coated balls of detritus, showing off tiny fossil fragments, and pulling out plastic trays filled with random thingamajigs that had been organized by color.
The assortment is all part of her eclectic jewelry-making arsenal. She clusters recycled textiles, found items, donated castoffs and gemstones to create handmade wearable art that she describes as “science bohemian.”
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating original products in and around Los Angeles.
Piller juxtaposes opals, garnets and pearls with less conventional materials such as tile fragments, snakeskin, bits of lava from a trip to Iceland, and bullet casings, all bound together with strips of leather or vinyl. Lately, she’s been working with 3-D printed waste that her friends, a pair of costume-based performance artists, started delivering to her in giant garbage bags.
“I am always thinking about some aspect of recycling,” she said, “seeing the value in these things that we deem ‘trash.’”
One wall of her studio is lined with metal racks stacked with bins and boxes labeled “clay,” “metal” and “scraps.” The room is cluttered, yet curated.
“There’s a little bit of hoarding mentality,” Piller laughed, “but I use it!”
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1.Necklaces featuring seashells, gemstones and recycled printed plastic.2.Alicia Piller displays her handmade ring.(Juliana Yamada / Los Angeles Times)
From her “controlled chaos” come intricate, ornate, one-of-a-kind necklaces, earrings, brooches and rings. While Etsy is her main retail hub, she previously sold her wearables at L.A.’s Craft Contemporary museum and the Houston Center for Contemporary Craft. She’s also provided flair for the likes of Phylicia Rashad, Jill Scott and Ciara.
Her creations give nods to nature, at times skew extraterrestrial, and have Afro-futuristic undertones. One pendant evokes the sea with its swirl of mother-of-pearl, spiral seashells and rivulets of pale gray leather arranged above a piece of bleached coral. A crystal-festooned collar necklace calls to mind a pair of Blue Morpho butterfly wings. And a jasper-studded pin resembles a Ghanaian mask at first glance.
The undulating layers and microcosms that make up her jewelry’s signature “biomorphic” look extend into her fine art practice, as well.
Piller received an MFA from Cal Arts and now teaches sculpture as an adjunct professor at UCLA and UC Irvine. Her maximalist mixed-media artwork has shown at Track 16 (the L.A. gallery that represents her), as well as institutions across Southern California, including the Brick and the Orange County Museum of Art. Both the Hammer Museum and the California African American Museum have her pieces in their permanent collections. Next summer, she’ll unveil a new monument as part of West Hollywood’s Art on the Outside public art program.
In her studio, multiple towering sculptures are ensconced in cardboard and bubble wrap, while others — works in progress — sit on plinths, lean against walls, or hang from the ceiling. There’s a stark contrast between these 9-foot-tall pieces and her smallest makes, a pair of one-inch post earrings. But toggling from the massive to the minute comes naturally to her.
Alicia Piller stands for a portrait in her studio.
(Juliana Yamada / Los Angeles Times)
“It’s about the microscopic and the macro,” she explained. “I like being able to see the tiniest detail, then letting it expand out into the cosmos. I’m thinking about those two scales constantly and about where we fit between those scales.”
While she addresses such weighty topics as police brutality and climate disasters in her large-scale works, making wearables provides comfort.
“The jewelry is much more free-form and fun versus the more serious stuff that feels heavy to me,” she said. “It’s not always full of activism and all these ideas about humanity and the world. It’s more of a joyous, less stressful task.”
She added, “I also just love to adorn myself in the things that I make.”
This has been true since childhood.
During the studio tour, the artist pulled out a piece of brass wire bent to spell out her name, a keepsake from when she was 12. She’s kept all manner of adolescent mementos, such as beads she fashioned out of tightly-rolled magazine pages or colorful pieces of clay. Her future as an artisan was a foregone conclusion.
Photos of Piller’s maternal ancestors line the edges of this textural necklace, which features a pair of beetles at its center.
(Juliana Yamada / Los Angeles Times)
Growing up in Chicago, Piller and her mother performed as clowns at birthdays and company picnics. From ages 7 to 14, it was her job to create balloon figures for partygoers — sculpting skills that would come in handy. She gained an appreciation for nature and anthropology from mother-daughter fishing excursions and regular visits to the Field Museum, which focuses on natural history. Her affinity for biology comes from her father, who attended medical school when she was young.
“I had all these books around me that had the insides of bodies,” she recalled, “so there was a fascination with the inside.”
Piller went on to study anthropology and painting at Rutgers University, making jewelry in her spare time. During breaks, she’d work at a Chicago bead store, where she learned about global jewelry-making practices. After graduating in 2004, she moved to Manhattan, spending weekends hawking accessories and hand-painted clothing from a sidewalk table. She later relocated to Santa Fe, N.M., where she worked at a store selling fossils, minerals and semi-precious stones.
“That’s when I really understood that in all these materials there’s a spiritual side, an energy,” she said. “There’s a beauty in the fusion of all of these materials together.”
Piller moved to Inglewood in 2019. Asked if L.A. has impacted her work the way previous cities had, she said, “[My] storytelling, narrative side has come to the forefront. There’s definitely been a shift, in terms of thinking about how an object can tell a story.”
For example, enamored of Pasadena-born author Octavia Butler, she began referencing the sci-fi legend’s writing and using her likeness, both in sculptural form (as with her 2024 piece “Mission Control. Earthseed.”) and in her jewelry. She also started incorporating images of other inspiring women, including her maternal forebears and the Cuban American sculptor Ana Mendieta.
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1.Earrings featuring science fiction author Octavia Butler, one of Piller’s many inspirations.2.A necklace made from a crinoid fossil stem.3.Cuban American artist Ana Mendieta sits at the center of these necklaces.(Juliana Yamada/Los Angeles Times)
L.A. has shaped her aesthetic in more literal ways, too.
“A big part of what I do is walking and doing urban hikes,” she said, noting that she’s trekked through nearly 20 countries. She’s walked from her studio to Watts Towers or westward to Torrance, collecting things she finds on the ground along the way and eventually transforming them. For instance, a pair of jewel-toned beetles she picked up made an ideal centerpiece for a regal bib necklace.
“There’s that side of me that really gets excited about looking at those objects, then creating my own sort of cosmology, my own artifacts, if you will,” she said. “I’m using ‘high’ gemstones to ‘low’ plastic and elevating all of them, fusing them into one work that then creates this energy, this power.”
From a design shop in Valencia with “murderous” dolls to a studio in Dublin to the Coachella Valley Music and Arts Festival, our photographers have been everywhere this year. They’ve captured key figures in the worlds of music, film and television in somber moments, moments of levity and everything in between. They share behind-the-scenes anecdotes about the shoots and reveal how they got “the” shot.
Britt Lower, Adam Scott and Dichen Lachman (above)
By Jason Armond in Los Angeles
When I received this assignment, my goal was to create a photo that not only mirrored the show’s dystopian surrealness but also captured the intricate relationship triangle between Britt Lower, Adam Scott and Dichen Lachman’s characters.
Initially, it took a little time for everyone on set to see my vision, but once I shared a test image, everyone understood and was excited to collaborate. The entire shoot lasted around eight minutes, but that brief window was all we needed.
After publication, the images quickly went viral. Many viewers assumed the photos were AI-generated or composited, but every detail was achieved in camera.
At the end of the shoot, someone from Lower’s team accidentally stepped on the mirror, shattering it. Someone joked about bad luck, but thankfully, this superstition did not come true, and a few months later, Lower won the lead actress in a drama series Emmy for her role in “Severance.”
Richard Kind
By Christina House at Sunset Gower Studios in Hollywood
Richard is one of a kind — no pun intended. He was singing and joking with us, telling stories. We were set up outside under the beating sun and he was wearing a vest with a wool coat, so we were trying to work quickly! I always love seeing behind the scenes of how films are made. I decided to pull back and include the lights and my assistant Jonathan’s hands to give it that working set feel.
Cynthia Erivo
By Jason Armond in Los Angeles
Cynthia Erivo’s portrait session took place in a studio near Beverly Hills, where she had recently finished recording her latest album. My initial plan was to photograph her seated beside a vintage piano, but she had a different vision. This is why I always prepare at least three setup options for entertainment portraits. I quickly adapted and moved to my next setup, which featured a striking geometric wooden wall in the studio. As I adjusted the lighting, I noticed her stunning wardrobe with two waist-high slits that revealed her tattoos. At that moment, I understood her preference for standing, as it allowed her to express her style and personality fully. I adjusted the lighting to complement Erivo’s sultry and confident presence. Her choice to stand brought a dynamic quality to the image. The resulting image speaks for itself; Erivo brought the scene to life and needed almost no direction. I simply pressed the camera’s shutter button.
Bella Ramsey
By Bexx Francois at the London in West Hollywood
Rather than chasing an expression, I was interested in stillness and repetition; how a simple gesture could feel amplified when echoed across a frame. I wanted Bella’s profile to be both the anchor and the rhythm of the image. She was immediately open to leaning into something more abstract. It was a real-time compositional gamble, guided by instinct and trust. We made several variations, but it was her side profile that ultimately struck the strongest balance between classic portraiture and interpretation.
Lee Jung-jae and Hwang Dong-hyuk
By Justin Jun Lee at the “Squid Game Experience” in New York
From the moment I walked in, I felt completely immersed in the design of the space. It truly felt like I was stepping onto an actual film set from one of the “Squid Game” challenges. The iconic giant doll Young-hee from the “Red Light, Green Light” game immediately stood out to me. My goal was for the images to carry a sense of tension and intensity that mirrors the tone of the show, and I believe that came through in the mood, expressions and presence of both Lee Jung-jae and Hwang Dong-hyuk.
Yungblud
By Hon Wing Chiu at the Hollywood Palladium
(Hon Wing Chiu / For The Times)
I was limited to photographing only the first three songs at the Hollywood Palladium, so I chose to shoot two songs up close and save the last one for a gamble from the back of the crowd. Most of the time I could barely see past the fans, but I hoped the final song would give me something unexpected.
When Yungblud hit the stage, the whole room exploded. The lights were changing every second, and he never stopped moving — running, jumping, connecting with the crowd like the stage could barely contain him. The fans were screaming, reaching, completely locked into the moment. I captured what I could up front, then switched lenses and waited for one last chance.
During that final song, everything suddenly came together. Yungblud stepped right to the very edge of the stage, almost close enough for the fans to touch him. Their hands shot into the air, trying to reach him, and he threw his arm upward with full force, like he was lifting the whole room with him. For a split second, the lights, the crowd and his energy aligned perfectly. I hit the shutter, hoping I caught it.
It wasn’t the peak of the entire concert, but it was the peak of the moment I was allowed to shoot — and it became the image I had been chasing all night.
Olivia Cooke and Robin Wright
By Jennifer McCord in London
I’d only seen the trailer for “The Girlfriend” at the time of the shoot but knew I wanted something that contained the idea of untrustworthy narrators that seemed to be threaded throughout.
Paul Thomas Anderson
By Christina House at the Aster in Hollywood
I had been made aware that PTA does not love being photographed. I had worked with him once before so I knew he was really nice but a bit camera shy. When he finished up his interview with columnist Glenn Whipp, he came to meet me in the neighboring hotel room where I had a chair positioned next to a window. I shared my idea on framing the image; I was shooting it from the bedroom closet to give some depth and he liked it. We took a few frames, talked about our dogs (his dog is trained to bring him his L.A. Times newspaper every morning) and he apologized for being difficult on his way out, to which I immediately replied that he was the complete opposite of that.
Fernanda Torres (‘I’m Still Here’)
By Annie Noelker in Los Angeles
I remember her just being so classy, elegant and lovely. Her whole team was so kind and we shot out on the balcony of the hotel room for maybe 10 minutes. It was effortless and such a satisfying collaborative experience.
Adrien Morot, Kathy Tse and M3GAN dolls
By Carlin Stiehl in Valencia
It’s always a treat when you step into the creative world of a mastermind, especially when it comes to the magic behind our favorite films. You might expect that seeing the process up close would spoil the mystique, like a magician revealing their tricks, but in the case of Adrien and Kathy, it only deepened the sense of wonder. The “M3GAN” dolls were so lifelike, and the real sell wasn’t their eyes that draw you in, but the skin. The dolls’ lifelike texture and softness, and the rows of faces on worktables waiting to be painted, created a diabolical scene out of a skin-harvesting, flesh-mask horror film. Yet the insanity was where the true genius hid, because in many ways, I could believe it was real. Hence, the inspiration for the photo: a take on the quintessential family-style portrait — the ones you kind of cringe at when you walk into someone’s home, radiating manufactured happiness. The dolls were like their children so I thought, let’s get the kids together with Mom and Dad and show how beautiful their doted-on children are for our guests.
Saagar Shaikh and Asif Ali
By Bexx Francois on the Disney Studios lot in Burbank
I came in with a loose mood board, a few traditional pose ideas alongside some comedic “scenarios” that had a 50/50 chance of making it to my memory cards. Their Hulu series “Deli Boys” was a comedy after all, maybe they’d be down to lean into play. When Saagar and Asif arrived, I showed them my wish list. Instant cosign. Once we nailed the first “scenario,” pure improv took over, with Asif and Sagaar seamlessly falling into the mock-conflict of their on-screen characters; hence, Asif being hoisted 3 feet in the air. By the time we called wrap, everyone was in tears.
Dan Brown
By Cheryl Senter in Rye Beach, N.H.
Two things: I always follow my gut and never wear pink. A few days before the assignment I had this gut feeling that I wanted a portrait of the bestselling author with a wall of mirrors. The day of the assignment I decided to wear a hot pink shirt I had picked up at a thrift store instead of my black-on-black attire. At Dan’s house I spent an hour with his assistant scoping out a few locations — no wall of mirrors. Before I left I asked Dan if he had a wall of mirrors. Dan smiled and led me to a very tiny circular bathroom that had a tall, curved pocket door made of copper. It was a tight space with the door shut. My pink shirt came in handy. I could easily see if I was in any of the mirrors. At one point Dan looked at me and started laughing as I tried to make myself wafer thin. Then I started laughing. Dan’s assistant waiting outside asked softly, “Is everything OK?”
Penn Badgley
By Matt Seidel in Los Angeles
This was a classic celebrity shoot: Our scheduled 30 minutes collapsed into seven so we had to move fast. I shook Penn’s hand and told him I had two goals: Get the shot and get him back on schedule. There was no time to over-direct so I gave him one piece of character direction and let him run. I didn’t want Joe Goldberg from the TV series “You.” I didn’t want Penn Badgley, sexy serial killer. I wanted the real Penn Badgley saying goodbye, closing a chapter, integrating the shadow of the role and stepping into the light of what’s next.
Spike Lee
By Victoria Will in New York
Nothing says Brooklyn like Spike Lee, so it made sense to photograph him where he is most recognized, in Fort Greene near his well-known office. The relationship between Spike and Brooklyn is longstanding and reciprocal, shaped by history, presence and place. That familiarity was evident as nearly every pedestrian waved or said hello, many greeting him like an old friend. And there wasn’t one person that he did not acknowledge. True class.
Sombr
By Evelyn Freja at Pier 17 in New York
The photo was taken on an empty construction floor of the pier where he had a concert that night. I remember it was a very quick session right before he went on because he had gotten a cold and was trying to save his energy to perform. Despite his health, he (and his entire team) was so kind and gracious, which made the shoot go easy. I decided to light the warehouse with a red light to lend the energy of his music to this shoot and a very moody light for Sombr to reflect the ambience of his songs.
Elle Fanning
By Christina House at the Toronto International Film Festival
I had photographed Elle a few years back. She’s a sweetheart and so good at posing so she doesn’t need a lot of direction. For this particular photo, it was taken at our portrait studio at the Toronto International Film Festival. It’s a fast-paced flow of folks coming in and out for portraits, an organized chaos at times, but you would never know that by the calm on her face. She’s a pro.
Lena Dunham and Megan Stalter
By the Tyler Twins in New York
The playlist was ‘90s (Alanis Morissette, the Cranberries, Jewel), and the vibe was easy and celebratory. Megan and Lena have a genuine chemistry and were both very relaxed in front of the camera. Our shared ties to Ohio made for good conversation. It truly felt like we were shooting friends.
Domhnall Gleeson
Jennifer McCord in Dublin
This was shot in a studio in Dublin (studio shoots for assignments always feel super rare!) with just me, Domhnall and his makeup artist Lucy. We played the latest Fontaines D.C. album and the shoot was super chill and lovely. I’m always appreciative when an actor is up for being collaborative and trying different things — this was one of the last shots we took. The rest of the images feel quite energetic, so it was nice to also get this more intimate-feeling frame at the end.
Karol G
By Bexx Francois in El Segundo
When time with an artist is limited, anxiety threatens to grab the wheel. But once Karol G walked on set, everything went quiet. And delicate. She had such a kindness about her. And an effortless beauty. I was inspired by classic Irving Penn; using walls to guide the eyes toward the center. We used a V-flat as our “set.” Even with a wind blower only 6 feet away throwing gusts of drama in her direction, Karol remained in command of her space and performance. And still connected where and how needed — with piercing intention.
Benson Boone and Brian May
By Allen J. Schaben at the Coachella Valley Music and Arts Festival
Shooting Benson Boone’s trademark leaping acrobatics at his Coachella debut this year gave me the chance to bridge the gap between musical generations. The performance of “Bohemian Rhapsody” was made even more significant by the presence of Queen’s legendary guitarist, Brian May. My challenge was positioning myself to capture the moment while navigating a sea of spectators’ heads, hands, arms and cellphones. I dropped to a low angle to create a fan’s perspective, capture the height of his leap and ensure both artists were in the frame. Then it happened — somewhere between a cymbal crash and a guitar wail. Boone sprinted onto the piano and launched into the air above May, and in a split second, it was over. Moments like this are what make my job rewarding, and this performance by Boone and May will live on as a legendary one in my memory.
Marianne Jean-Baptiste and Mike Leigh (‘Hard Truths’)
By Christina House at Shutters on the Beach in Santa Monica
Marianne and Mike had such lovely chemistry together. They were chatty so I thought I’d give them an action to follow and this is where we landed. This was taken in a hotel boardroom with a seamless backdrop.
Mariska Hargitay
By Victoria Will in New York
I’ve had the good fortune of photographing Mariska Hargitay many times over the years, which brings a level of trust and collaboration. She gives both generously. On this occasion, she was as she always is: grounded, confident and present, with an easy sense of humor.
Wesley Schultz and Jeremiah Fraites of the Lumineers
By Robert Gauthier at the Sunset Marquis in West Hollywood
The Lumineers was a memorable shoot for me. To make this photo I crawled into a thicket of ferns at the Sunset Marquis Hotel. As I crouched behind a rippling fountain, stretching and contorting my body to attain the correct angle, I began to wonder, “Do the Lumineers think I’m some kind of a lunatic?”
Luis Guzmán, Jenna Ortega and Catherine Zeta-Jones
By Jennifer McCord in London
I’m such a big fan of “Wednesday” as a show and of all three of these actors, so this was truly a joy. As always with these assignments, we had limited time but thankfully we were shooting at the wonderful Raffles in London and Luis, Catherine and Jenna were so wonderful.
Mark Hoppus of Blink-182
By Robert Gauthier in Los Angeles
Mark Hoppus’ home is a photographer’s dream. A Midcentury Modern with interesting angles, surfaces, colors and light. He was patient and willing to pose wherever I found inspiration. We settled on a few places, including beneath a skylight that streamed natural light into a hallway. It’s a simple image. One might say it was just another one of all the small things.
Stephen Graham
By Sophia Spring in London
This was shot in a little makeshift studio I set up in a boardroom at Netflix HQ in London. We were capturing these portraits of Stephen ahead of the release of “Adolescence.” At the time all I knew about the show was the vague story outline of Stephen’s character as the father of a boy arrested for murder, and so I was keen that the portraits channel the visceral and complex tone of the show. After a quick hello I explained to Stephen what I was after, and for the next 20 minutes he proved why he is the world-class actor we know him as — he brought such an intensity and commitment to our short shoot. I was thrilled to see his well-deserved Emmy win a few months later.
True Whitaker
By Christina House at the London Hotel in West Hollywood
True is a warm and friendly human. She greeted me and my assistant with a hug. I could tell she was feeling a little under the weather that day but she didn’t ask for any special treatment, and kindly and happily took direction. It was a pleasure to meet the “I Love LA” star. I used window light to keep a soft yet moody feel.
Jessie Murph
By Annie Noelker in Los Angeles
We shot Jessie at NeueHouse Venice Beach (rest in peace) and there was this skylight in the backroom, where the sun cast this magnificent glow. The time of day was just perfect and oh so lucky. I had Jessie stand in the glow and look up, with just a little reflector under her chin and we captured this beautiful, still moment of reflection and calm before the insane year the singer-songwriter has had.
Danielle Brooks
By Bexx Francois in Los Angeles
I had just flown in from New York, where only days earlier I was sitting in a movie theater with my nephews, ages 6 and 11, watching “Minecraft” and enjoying their faces light up from the screen. In 2022, I saw Danielle Brooks in the Broadway revival of “The Piano Lesson,” a performance that had me on my feet in applause. And now my nephews were being introduced to her talent in a different context. When the assignment to photograph the actress landed in my inbox soon after, it was an instant yes. Unbeknownst to her, I was quietly geeking out behind the camera. I wanted to capture her in the same bliss she gave my nephews in that theater together.
Laverne Cox and George Wallace
By the Tyler Twins in New York
Laverne Cox arrived fully prepared in vintage Thierry Mugler. We bonded over a shared love of fashion history; she’s an expert! George Wallace, her onscreen father in the Prime Video comedy “Clean Slate,” brought a warmth that was easy to capture. Their father-daughter dynamic unfolded naturally, with Laverne playfully striking poses around him.
Tonatiuh
By Christina House at Hollenbeck Park in Los Angeles
This was a meaningful place for him since he grew up in the area. He seemed at ease and I sensed it felt good to return to a place he called home during what I can imagine is a very busy and surreal time for him — promoting the movie “Kiss of the Spider Woman” with Jennifer Lopez. Grounding yourself is so important. There’s a pond at the center of the park. We headed in that direction and made a few frames with this beautiful, natural sunlight. He mentioned that the scar on the left side of his face is not something he is ashamed of so he was comfortable being photographed on that side.
Laurence Fishburne
By Jason Armond in Los Angeles
When I photographed Laurence Fishburne for his role in the spy thriller “The Amateur,” I approached the session with a storyteller’s mindset. Even in my celebrity portraiture, I aim to capture a narrative. For this shoot, I chose dramatic lighting to reflect the suspenseful tone of the film. Fishburne had recently suffered a broken toe, so he needed to remain seated throughout most of the session. What could have been a limitation became a creative opportunity. I concentrated on close-up portraits, letting Fishburne’s intense expressions and moments of exuberant laughter bring the images to life.
Fujii Kaze
By Jason Armond in El Segundo
During awards season, I photograph many celebrities each week, which challenges me to find new and creative approaches for every session. For me, the key to transforming the ordinary into something extraordinary is always staying open to inspiration wherever it appears. My shoot with J-pop star Fujii Kaze at the L.A. Times offices embodied this idea. On my way to the studio, I noticed a stack of black chairs in the hallway and instantly recognized their potential. Those unassuming chairs became the backdrop for a striking, environmental portrait. Following my instincts allowed me to create something truly unique.
Michael Koman and Greg Daniels
By Jason Armond in El Segundo
When I was assigned to photograph Michael Koman and Greg Daniels, the creators of “The Paper,” I knew I wanted the images to capture the quirkiness of their show. Early on, I decided to build a set entirely out of newspapers. Since our shoot was at the L.A. Times offices, I gathered piles of old papers and envisioned Michael and Greg in a flurry of pages, an energetic and playful nod to their show’s spirit. The idea worked beautifully.
After the session, I led Koman and Daniels on a brief tour of the newsroom. Daniels eagerly asked about every detail of the newsroom’s daily operations and how each area was used. His sincere curiosity stood out, revealing his dedication to his craft.
Before Koman and Daniels left, I jokingly offered my services as a show consultant. I have yet to receive a callback, so for now, I am more than happy to continue my work at the L.A. Times.
Billy Crudup
By Bexx Francois in Los Angeles
We arrived at the Netflix offices and started making our way to our shoot location. Out the corner of my eye, I noticed this teddy bear chair in one of the waiting rooms we were passing by. Its design was charismatic and made me smile. I instantly requested it be brought to set. We tried one to two traditional chairs in its stead before committing to its playfulness. If it made us smile during test shots, hopefully it would do the same once “Jay Kelly” star Billy Crudup arrived on set. And indeed, it did. We spent the most time joking and capturing candid moments with Billy comfortably leaning into that furry hug. It produced one of my favorite photos from our time together.
Cyndi Lauper
By Larsen&Talbert at Jack Studios in New York
From the very beginning, it felt more like a collaboration than an assignment.
Once we knew what she’d be wearing, we gathered around the rolls of seamless paper together, weighing color options like painters choosing a palette. Blue immediately stood out. We agreed, started setting up and everything was moving smoothly — until a few minutes later when Cyndi Lauper came running back into the room.
“We can’t do blue!” she said, laughing. “My hair is blue today.”
She was absolutely right.
Without hesitation, we pivoted to our second choice: orange. Against her blue hair and bold, pink doll-head suit, the orange backdrop crackled with energy — it was perfect.
Some subjects need a lot of coaxing and direction. Not Cyndi. She knows exactly how to move, how to hold a pose and how to communicate with a camera. She doesn’t wait to be told what to do — she gives you something. Our job was simply to stay sharp and ready, capturing whatever magic she sent our way.
It was effortless, intuitive and joyful — the kind of shoot that reminds you why collaboration matters, and why icons become icons in the first place.
Jinkx Monsoon and BenDeLaCreme
By Dutch Doscher at Blonde Studios in New York
When I got the assignment, I was immediately excited and had this image in my head of placing them inside a colorful candy cane circus. I had no idea how I was going to pull that off until Broderson Backdrops came through with the perfect 25-by-25-foot backdrop. I showed the idea to their publicist and got an immediate, enthusiastic yes. From there, the gold outfits came into focus and everything started to click.
They were incredibly easygoing and completely comfortable playing to the camera. You can sometimes wonder if a duo like that is more of a work relationship, but once you’re in the room with them, it’s clear it’s a deep friendship. That connection made the shoot feel effortless, and I think that’s what ultimately comes through in the photograph.
Vince Zampella, the video game developer who helped launch the wildly lucrative and enduring “Call of Duty” franchise and “Apex Legends” studio Respawn Entertainment, has died.
A representative for Electronic Arts, which owns Respawn, confirmed Zampella’s death Monday in a statement shared with The Times. He was 55.
Zampella was one of two people who died Sunday afternoon in a car crash along Angeles Crest Highway, NBC 4 reported. The crash involved a red 2026 Ferrari 296 GTS, and the identities of the deceased are pending release by the county coroner, said California Highway Patrol spokesperson Sgt. Daniel Keene.
Zampella was a noted sports car collector, often sharing photos of his luxury vehicles and visits to car races on Instagram.
“This is an unimaginable loss, and our hearts are with Vince’s family, his loved ones, and all those touched by his work,” said the Electronic Arts representative in a statement. “Vince’s influence on the video game industry was profound and far-reaching.”
The CHP said in a Sunday news release that it received a call at 12:43 p.m. about a crash at Mile Post 62.70 of the scenic drive, which reopened in August after a years-long closure due to storm damage. Officers responded to the scene of the crash, and a preliminary investigation found that a car had been traveling southbound when, “for unknown reasons, the vehicle veered off the roadway, struck a concrete barrier, and became fully engulfed,” according to the release.
“The passenger was ejected from the vehicle, and the driver remained trapped,” the CHP statement said. “Both parties succumbed to their injuries.”
Video emerged online showing a red Ferrari shooting out of a tunnel along the highway at a high speed, slamming into a concrete barrier where the road curved and erupting into flames.
The 2026 Ferrari 296 GTS is a hybrid convertible powered by a twin-turbo 3.0-liter V6 and an electric motor, producing a combined 819 horsepower.
The CHP said Sunday it was unclear whether drugs or alcohol were a factor in the crash.
Zampella was a formative figure in the modern gaming scene. Alongside Jason West and former creative partner Grant Collier, he co-founded the original “Call of Duty” studio, Infinity Ward, in 2002 and released the first installment of the first-person military shooting game in 2003. Activision acquired the studio that same year. Since its inception, “Call of Duty” has spawned dozens of sequels and spin-offs across various consoles and platforms, most recently “Call of Duty: Black Ops 7,” released in November.
He and West, after an acrimonious split with Activision, founded Respawn Entertainment in 2010. Though West departed Respawn in 2013 due to unspecified family issues, Zampella remained head of the studio, overseeing the creation of titles including “Titanfall,” “Apex Legends” and “Medal of Honor: Above and Beyond.” Additionally, Respawn expanded its lineup with the story-driven “Star Wars” titles “Star Wars Jedi: Fallen Order” and “Star Wars Jedi: Survivor,” starring Cameron Monaghan.
Zampella also led the L.A. branch of Swedish video game developer DICE, which was renamed in 2021 to Ripple Effect Studios, and was appointed to oversee its “Battlefield” franchise.
“A friend, colleague, leader and visionary creator, his work helped shape modern interactive entertainment and inspired millions of players and developers around the world,” Electronic Arts said in its statement. “His legacy will continue to shape how games are made and how players connect for generations to come.”
Zampella is survived by his three children, Quentin, 26; Kyle, 22; and Courtney, 19.
“Stereophonic,” David Adjmi’s heralded drama that won five Tony Awards including best play, is ready for its Los Angeles close-up.
The first national tour production, which opened Wednesday at the Hollywood Pantages Theatre, seems right at home in the music capital of the world. The play about a 1970s rock band on the brink of superstardom takes place in recording studios in Sausalito and L.A., where the Laurel Canyon vibe is never out of sight.
The visual crispness of this L.A. premiere goes a long way toward dispelling doubts that the Pantages is the wrong venue for this ensemble drama. If there’s a problem, it isn’t the cavernousness of the theater. The production, gleaming with period details on a set by David Zinn that gives us clear views into both the sound and control rooms, comfortably inhabits the performance space, at least from the perspective of a decent orchestra seat.
The play, which includes original music from Will Butler, the Grammy-winning artist formerly of Arcade Fire, has a sound every bit as robust as one of the blockbuster musicals that regularly passes through the Pantages. The songs, crushed by the actors at top volume, are Butler’s indie rock re-creation of cuts for a part-British, part-American band that bears such a striking resemblance to Fleetwood Mac that a lawsuit brought by a former sound engineer and producer of the group was eventually settled.
Adjmi, like Shakespeare, takes his inspiration where he finds it. And like the Bard, he makes his sources his own, alchemizing the material for novel ends.
The touring production of “Stereophonic” makes clear just how integral the original cast was to the success of the play.
(Julieta Cervantes)
Unfolding in 1976 and 1977, “Stereophonic” offers a fly-on-the-wall perspective of a band at a crossroads. While recording a new album top-heavy with expectations, the group falls prey to romantic conflicts and self-destructive spirals, to toxic jealousies and seething insecurities. The prospect of fame magnifies pathologies that have been intensifying over time.
Diana (Claire DeJean) is the Stevie Nicks of the band. Beautiful, achingly vulnerable and awash in lyrical talent, she is entangled in a relationship with Peter (Denver Milord), the Lindsey Buckingham of the group, who strives for musical perfection no matter the cost.
Their connection is as professionally enriching as it is personally destructive. Diana’s ambition is matched by her self-doubt. She’s susceptible to a Svengali yet doesn’t want anyone to tell her how to write her songs.
Peter, angrily competitive, can’t help resenting the natural ease of Diana’s talent, even as it’s her song from their first album that has put the band back in the spotlight. His genius is ferociously exacting while hers seems to spring naturally from her soul.
Artistically they depend on each other, but the tension between them is unsustainable. And as the play makes clear, there’s no way to keep their personal lives out of the studio.
DeJean and Milord are the most captivating performers in the ensemble. The other actors are solid but this touring production makes clear just how integral the original cast was to the success of the play.
Daniel Aukin’s production, which had its New York premiere at Playwrights Horizons in 2023 before moving to Broadway the following year, hasn’t lost its confident flow. The storytelling is lucidly laid out. But the tantalizing peculiarities of the characters have been whittled down.
The British band members suffer the worst of it. Emilie Kouatchou’s Holly moves the character away from the obvious Christine McVie reference, but her role has become vaguer and less central. Cornelius McMoyler’s Simon, the drummer and weary manager, fills the bill in every respect but gravitas, which must be in place if the character’s ultimate confrontation with Peter is to have the necessary payoff.
No one could compete with Will Brill, who won a Tony for his strung-out portrayal of Reg, a deranged innocent whose addictions and dysfunctions create farcical havoc for the band. Christopher Mowod can’t quite endow this “sad man in a blanket,” as Simon dubs his bundled-up bandmate, with the same level of fey madness that Brill was able to entertainingly supply.
These casting differences wouldn’t be worth noting if it weren’t for their impact on a play that distinguishes itself by its observational detail. Everything is just a little more obvious, including the two American sound guys bearing the brunt of the artistic temperaments running riot in the studio.
Jack Barrett’s Grover, the sound engineer who lied about his background to get the job, sands off some of the character’s rough edges in a more straightforwardly appealing version of the character than Eli Gelb’s bracing portrayal in New York. Steven Lee Johnson’s Charlie, the dorky assistant sound engineer, is an amiable weirdo, though I missed the way Andrew R. Butler played him almost like a space alien in New York.
The play has been edited, but it’s still a bit of an endurance test. Art isn’t easy for the characters or for us. But the effort isn’t in vain.
Adjmi’s overlapping dialogue and gaping silences, orchestrated in a neo-Chekhovian style, renders the invisible artistic process visible. By the end of the play, the tumultuous human drama behind creative brilliance emerges in poignant, transcendent glory.
‘Stereophonic’
Where: Hollywood Pantages Theatre, 6233 Hollywood Blvd., L.A.
When: 7:30 p.m. Tuesdays-Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 1 and 6:30 p.m. Sundays. (Check schedule for exceptions.) Ends Jan. 2.
Tickets: Start at $57 (subject to change)
Contact: BroadwayInHollywood.com or Ticketmaster.com
Running time: 2 hours, 55 minutes (including one intermission)
