superstar

IT’S fair to assume Will Smith had high hopes for a better year ahead after a disastrous stretch of career lows and romance woes.

But as 2026 rang in, the fallen Oscar-winner and rapper was slapped with a lawsuit amid claims of sexual harassment and wrongful termination.

Violinist Brian King Joseph, who performed on Will’s 2025 tour, Based On A True Story, accuses the A-lister of “grooming” him while they worked together.

And he alleges that when he reported things to management, he was kicked off the tour and “shamed” by the powers that be.

According to Brian, who reached the top three on America’s Got Talent in 2018, he was hired by Will in 2024 after auditioning for him at his home.

Will apparently told him: “You and I have a special connection.”

TRAGIC LOSS

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‘PREDATOR’ SMITH

Will Smith sued for sexual harassment by male tour violinist & TV star

Then, while touring with him in Las Vegas last March, he says he came back to his hotel room at 11pm and found it had been “unlawfully entered” by an “unknown person”, who had left a handwritten note, as well as random items including wipes, a beer bottle, an earring and a bottle of HIV medication.

The note read: “Brian, I’ll be back no later [sic] 5:30, just us” with a drawn heart, and signed: “Stone F.”

In legal filings, Brian says he reported the incident to hotel security and Will’s management out of fear someone would return to his room to “engage in sexual acts” with him.

But after doing so, he alleges, he was “shamed” by tour management and given the boot, causing him “severe emotional distress, economic loss, reputational harm and other damages” as well as “PTSD and other mental illness”.

‘Lost all self-control’

According to the lawsuit, a member of Will’s tour management told Brian, “Everyone is telling me that what happened to you is a lie, nothing happened, and you made the whole thing up”, court documents state.

Though not naming Will, 57, as the unknown person who entered his room, court papers say the “facts suggest” the star was “deliberately grooming and priming Mr Joseph for further sexual exploitation”.

He is now demanding a jury trial.

Will denies all allegations, with his attorney Allen B. Grodsky slamming Brian’s claims as “false, baseless and reckless”.

He added: “They are categorically denied, and we will use all legal means available to . . . ensure that the truth is brought to light.”

A court battle would be an ugly circus for Will at a time when he could really use some good news in the public eye.

After all, things have ostensibly gone from bad to worse for the former blockbuster king over the past few years.

It’s now approaching the four-year anniversary of the Oscar slap that was heard around the world, when an irate Will stormed the stage at the 94th Academy Awards and hit comedian Chris Rock across the face.

The incident was sparked after Chris made a joke about Will’s wife Jada Pinkett Smith’s bald head, which was a result of her alopecia, and amid Will’s calls to “keep my wife’s name out of your f***ing mouth!”.

It was supposed to be Will’s night of triumph as he finally received an Oscar for his critically acclaimed performance in King Richard.

Instead, it went down in infamy as the night he lost all self-control.

He was duly given a seven-year ban from all Academy, Grammy, Tony and Emmy events and, in the aftermath, shirked the spotlight.

Since then, things haven’t gone smoothly.

In fact, his road to redemption has been paved with constant knocks and embarrassing detours, personally and professionally.

In particular, his unconventional relationship with Jada, 54, has been the subject of much scrutiny and confusion.

Having long been pegged as one of Hollywood’s golden couples, the pair hit headlines in 2020 when they revealed during an episode of Jada’s Facebook series Red Table Talk that she’d had an affair a few years before with singer August Alsina.

At the time, Jada described it as an “entanglement”.

As a result, she and Will had even more of a point to prove when they stepped on to the red carpet at that fateful 2022 Oscars.

But a year later, Jada dropped a motherlode of truth bombs about their relationship in her 2023 memoir, Worthy.

In the book, and on its promo trail, she revealed that — despite putting on a united front in public — she and Will had been separated for seven years and no longer lived together.

According to Jada, she’d kept up the facade because Will “wasn’t ready” to tell the world.

So instead, she said, she took the bullet, painting herself as “the adulterous wife” in the “false narrative” they created.

While the pair had no intention of divorcing — and still have not done so — Will was reportedly “humiliated” by Jada’s candidness.

They used to live by their famous slogan, paraphrased from Will’s movie Bad Boys: “We ride together, we die together, bad marriage for life.”

But Jada’s revelations apparently left Will feeling more isolated than ever — which, insiders said at the time, was a bitter pill to swallow after he defended her at the Oscars.

Crashed and burned

As things stand, Will and Jada still have no plans to officially end their 28-year marriage.

They came together to wish their daughter Willow a happy birthday in October, and have since been reportedly pictured together in public.

But as news spread of Brian’s lawsuit against Will, Jada stayed noticeably quiet.

She previously said that, at some stage, they’ll live together again, but only because, “it’s getting apparent to me that [Will’s] gonna need someone to take care of him” — making her ex sound more like a burden.

Meanwhile, Will’s attempt to reclaim his place on the A-list have seen things go from bad to worse.

In late 2023, as the dust settled on Jada’s marriage revelations, Will was accused of previously having sex with his Fresh Prince of Bel-Air co-star Duane Martin.

In an interview with internet personality Tasha K, Brother Bilaal — who described himself as Will’s ex-personal assistant — said he’d walked in on the alleged act.

A court battle would be an ugly circus for Will at a time when he could really use some good news in the public eye

On podcast Unwine with Tasha K, he also compared the size of Will’s manhood to a “pinky toe”.

In response, Will’s spokesperson slammed the claims as “completely fabricated” and said they were considering taking legal action.

No action was taken, but Brother Bilaal hasn’t gone quietly.

In fact, he’s since filed a $3million lawsuit against Jada, alleging “emotional distress”.

Neither Will nor Jada have commented, but a hearing is scheduled for March 9, inevitably casting another shadow over them.

Then, of course, there is Will’s damp squib of an attempt to reignite his music career that crashed and burned with last year’s tour.

In late 2023, as the dust settled on Jada’s marriage revelations, Will was accused of previously having sex with his Fresh Prince of Bel-Air co-star Duane Martin

Having long proven himself as a multi- hyphenate entertainer, it should have been a safe bet for Will to return to his rapper roots after his Oscar disgrace.

That way, he could continue to make us miss him on the big screen, while still connecting to his fans and making up for a few years of lost income.

So, his comeback tour, Based On A True Story, really was supposed to be an all-out triumph.

‘Used to be cool’

However, promotional footage started going viral for all the wrong reasons, after fans accused the star of using AI in crowd reactions.

In the film — which was posted to Will’s YouTube channel — there were a whole host of bizarre visual errors, including blurred faces, oddly shaped hands and one sign that read “FR6SH CRINCE”.

As one fan said: “Imagine being this rich and famous and having to use AI footage of crowds and bot comments on your video. Tragic, man. You used to be cool.”

Will looked a shadow of his former self as he kicked off the European leg of his tour in front of 6,000 fans in Scarborough at TK Maxx Presents . . . last summer, followed by Wolverhampton Civic Hall and the O2 Academy in Brixton.

Let’s remember, this is a former superstar who performed in front of more than half-a-million people at the Live 8 event in Philadelphia in 2005.

Imagine being this rich and famous and having to use AI footage of crowds and bot comments on your video. Tragic, man. You used to be cool

A fan

The same year, he set a Guinness World Record after attending an unprecedented three movie premieres in one day.

He hightailed it across the UK to promote romcom Hitch in Manchester, Birmingham and London.

Back then, he was untouchable, with two US No1s under his belt and the ability to command leading- man status in films including Men In Black (and its sequels), as well as Ali, The Pursuit Of Happyness and I Am Legend.

But nothing lasts for ever, and Will’s much more modest tour last year was a reminder of how far he’s fallen from grace.

He put on a brave face, but the online comments spoke for themselves.

One fan called him “pathetic” and told him to “enjoy” his retirement instead of seeking his former glory.

Now, as the former Hollywood icon begins the year facing a lawsuit, it’s fair to say he is staring down the barrel of yet another challenging 12 months.

Having always relied on his family to support him, the world will be watching to see if he steps out with Jada and their children, Jaden, 27, and Willow, 25 — plus his older son Trey, 33, from a previous marriage.

But as things stand, all parties had yesterday remained silent.

It may be early days for 2026, but Will has certainly taken a sharp detour from the golden road he trod for so long.

With no movies on the docket, he’s hanging his hat on upcoming National Geographic docu-series, Pole To Pole With Will Smith.

Some years you just have to get through.

I can’t pretend that 2025 delivered a banner crop of theater productions. Many of the best shows on this list came from elsewhere. And a higher than usual percentage were seen at the Ahmanson Theatre, which had a remarkably good year — perhaps the best of any local theater.

It was so good, in fact, that I left off Michael Arden’s revival of “Parade.” My self-consciousness about the high number of touring productions persuaded me not to include “Shucked” at the Hollywood Pantages, which lightened the summer with its country bumpkin merriment. And I also omitted “Here There Are Blueberries” at the Wallis not because it wasn’t one of the best productions but because it was on my highlight reel of 2022, when this Tectonic Theatre Project play, conceived and directed by Moisés Kaufman, premiered at La Jolla Playhouse.

Our picks for this year’s best in arts and entertainment.

The highlight at the Mark Taper Forum this year was Jocelyn Bioh’s comedy “Jaja’s African Hair Braiding,” which was on its final touring stop. And one of the best musical nights I had all year was courtesy of a concert version of the National Yiddish Theatre Folksbiene’s revival of “Fiddler on the Roof” in Yiddish at the Soraya.

Of course, L.A. had the theater world’s attention this summer when Cynthia Erivo headlined the Hollywood Bowl’s revival of “Jesus Christ Superstar,” a production that seemed to take over Instagram with the clobbering force of the movie campaign for “Wicked.” But my own pick for L.A. production of the year would be Jessica Kubzansky’s revival of “The Night of the Iguana.”

Kubzansky demonstrated by example what’s required. She and Tennessee Williams were an excellent match. But it’s not just about pairing the right director with the right author. It’s also about fielding a well-synchronized artistic company.

Too many locally grown productions (from our larger theaters especially) seem to leave out one of these elements. To judge by the results, the producing process seems top-down rather than organic. A few times this year at the bigger theaters it seemed as if the principal casting was an afterthought.

Co-productions can be a smart way to pool resources while spreading the risk. But they aren’t always the answer, as proved by the lackluster revival of “Noises Off” at the Geffen Playhouse, a co-production with Chicago’s Steppenwolf Theatre Company,

The best new dramatic work I saw anywhere this year was Branden Jacobs-Jenkins’ “Purpose,” which deservedly won the Pulitzer Prize for drama and the Tony Award for best play. La Jolla Playhouse has announced that it will produce the West Coast premiere next year. I won’t hold my breath for an L.A. production. (Jackie Sibblies Drury’s “Fairview” is finally heading here next season, but I’m still waiting for countless Annie Baker plays.) But at least Eboni Booth’s Pulitzer Prize-winning “Primary Trust” is coming to the Taper in May.

The writer who made the biggest first impression on me is a.k. payne, author of “Furlough’s Paradise,” which was the best new play I saw in town all year. Plays that I saw in New York that deserve major productions in L.A. include Bess Wohl‘s “Liberation,” Kimberly Belflower‘s “John Proctor Is the Villain,” Samuel D. Hunter’s “Little Bear Ridge Road,” and, if any company is daring enough, Jordan Tannahill’s “Prince Faggot.”

I’m still thinking about Toni Servillo’s full-throated performance in “Tre modi per non morire: Baudelaire, Dante, i Greci,” adapted from works by Giuseppe Montesano. This solo show, which I saw at Milan’s Piccolo Teatro, offered a passionate defense of how great literature can teach us to live again.

The theater can and should be a sanctuary from the technology that is encroaching on what distinguishes us as human beings — our capacity to contemplate ourselves and others feelingly.

2025 definitely had its high points. But there seems to be a weakening of institutional resolve in the face of unrelenting economic, political and cultural pressures. Let’s pray for a renewal of determination to create the theater — and society — we deserve.

Herewith, in no particular order, are my Los Angeles theater highlights of 2025.

Kasey Mahaffy and CJ Eldred in “A Man of No Importance” at A Noise Within.

(Photo by Craig Schwartz)

“A Man of No Importance,” A Noise Within. This revival of a lesser known musical by Stephen Flaherty, Lynn Ahrens and Terrence McNally (the team behind “Ragtime”) was one of the unexpected treasures of 2025. A tale of a closeted Dublin bus driver with a passion for Oscar Wilde and a yen for amateur theatricals, the show featured a star performance from Kasey Mahaffy that was sublime in both its modesty and flamboyance. Julia Rodriguez-Elliott’s production gracefully depicted a world of ordinary folks looking at the aesthetic stars from their humdrum daily realities.

Claudia Logan, from left, Bisserat Tseggai, and Mia Ellis in “Jaja’s African Hair Braiding” at the Mark Taper Forum.

(Javier Vasquez / Center Theatre Group)

“Jaja’s African Hair Braiding,” Mark Taper Forum. Jocelyn Bioh’s high-spirited ensemble comedy, vibrantly directed by Whitney White, took us inside the lives of the African immigrant women who work at a Harlem braiding salon. While working their fingers to the bone creating the most flamboyant hair designs, these characters reveal the great distances they’ve traveled, the courage that’s been required of them and the vulnerabilities they face in their increasingly hostile promised land.

Cynthia Erivo and Adam Lambert in “Jesus Christ Superstar” at the Hollywood Bowl.

(Farah Sosa)

“Jesus Christ Superstar,” Hollywood Bowl. Cynthia Erivo delivered a divinely inspired performance in this revival of Andrew Lloyd Webber and Tim Rice’s 1971 musical, directed and choreographed with concert-like brio by Sergio Trujillo. Adam Lambert was the electric Judas to Erivo’s nuclear Jesus, and the energy they emitted was more than enough to power all of social media for a few days in August. This show didn’t just go viral — it went global pandemic.

Julanne Chidi Hill, from left, Dennis Dun, Jully Lee and Riley Shanahan in “The Night of the Iguana” at Boston Court Pasadena.

(Brian Hashimoto)

“The Night of the Iguana,” Boston Court Pasadena. Artistic director Jessica Kubzansky cut to the spiritual core of one of Tennessee Williams’ lesser major plays and made it seem on par with his masterpieces, “The Glass Menagerie” and “A Streetcar Named Desire.” Jully Lee was brilliant as Hannah, the itinerant painter who turns up with her 97-year-old poet father at a Mexican seaside inn that is like a refuge for the world’s strays. Julanne Chidi Hill, who played the lusty widow hotel proprietor, Maxine, and Riley Shanahan, who played Lawrence Shannon, the disgraced reverend on the lam from his misdeeds, helped bring the play’s lonely battle for redemption to blistering life.

DeWanda Wise, left, and Kacie Rogers in “Furlough’s Paradise” at the Geffen Playhouse.

(Jeff Lorch)

“Furlough’s Paradise,” Geffen Playhouse. This shape-shifting two-character drama by a.k. payne explores the politically loaded subject of identity through the relationship of two queer Black cousins, who grew up together but whose lives have diverged. Sade (DeWanda Wise) is on a three-day furlough from prison; Mina (Kacie Rogers), adrift in California, has returned home to connect with her roots. Together, they challenge each other’s understanding of the past and sense of possibility for the future. The drama, directed by Tinashe Kajese-Bolden and choreographed by Dell Howlett, routinely escaped the confined realism of the dramatic situation to find freedom in a realm of boundless lyricism.

Wesley Guimarães, left, and Jack Lancaster and in “Bacon” at Rogue Machine.

(Jeff Lorch)

“Bacon,” Rogue Machine Theatre at the Matrix’s Henry Murray Stage. This fierce two-hander by British playwright Sophie Swithinbank, about an abusive relationship between two teenage boys awakening to their sexuality, was all the more combustible for being performed in such an inescapable intimate space. Wesley Guimarães and Jack Lancaster brought out the contrasting natures of these characters who are drawn to each in ways neither can fully work out. The production, directed by Michael Matthews, incisively balanced the traumatic push and erotic pull.

Jennifer Babiak and Steven Skybell in “Fiddler on the Roof.”

(Luis Luque / Luque Photography)

“Fiddler on the Roof,” The Soraya. This fluidly staged concert version of the National Yiddish Theatre Folksbiene’s acclaimed revival in Yiddish of this classic American musical brought a sharp-edged authenticity to the story of Tevye the milkman and his marriageable daughters navigating a treacherous world of pogroms and fraying tradition. Steven Skybell, magnificent in the role of the besieged patriarch, led a superb cast that brought a new understanding to an old chestnut through the force of Yiddish language and culture. The production, directed by Oscar- and Tony-winning actor Joel Grey, spoke as much to our own political and social turmoil as to that of the characters without ever having to press the point.

Rachel Simone Webb and the company of the North American tour of “& Juliet.”

(Matthew Murphy)

“& Juliet,” Ahmanson Theatre. This jukebox musical imagines with unstinting originality a scenario in which the doomed heroine of William Shakespeare’s “Romeo and Juliet” doesn’t die at the end of the play. Granted a theatrical second act, Juliet makes the rollicking most of it. The same could be said of this kinetically entertaining touring production. Tragedy was transformed not just into comedy but into a Max Martin dance party, replete with hits from the blockbuster Swedish producer that were made famous by such pop titans as Katy Perry, Britney Spears and the Backstreet Boys.

Pragun Bhardwaj, from left, Taha Mandviwala and the national touring company of “Life of Pi.”

(Evan Zimmerman)

“Life of Pi,” Ahmanson Theatre. The most visually entrancing production of the year was also one of the most dramatically captivating. This adventure tale of a boy trying to survive a shipwreck with the help of his imagination and a few of the surviving animals of his family’s zoo translated into purely theatrical terms the fable-like enchantment of Yann Martel’s 2002 Booker Prize-winning novel. Lolita Chakrabarti’s smart adaptation rode the magic carpet of Max Webster’s staging, which had the most enchanting menagerie of puppets since “The Lion King.”

Cher Alvarez in “Paranormal Activity.”

(Kyle Flubacker)

“Paranormal Activity,” Ahmanson Theatre. This impeccably staged horror play by Levi Holloway succeeded in injecting maximum fear without theatergoers having to hate themselves in the morning. The characters, rendered with contemporary exactness by a first-rate cast, were so recognizable that they made the mysterious events unfolding around them terrifyingly plausible. The London house, ingeniously laid out by scenic designer Fly Davis, practically stole the show.