Organizers canceled the popular Wireless Festival after the United Kingdom denied its headliner, the embattled rapper Ye, a visa into the country.
The U.K. government cited Ye’s history of antisemitic outbursts as a reason for denying him a travel permit.
Prime Minister Sir Keir Starmer said on Tuesday that “Kanye West [Ye’s former name] should never have been invited to headline Wireless.”
“This government stands firmly with the Jewish community,” he continued, “and we will not stop in our fight to confront and defeat the poison of antisemitism. We will always take the action necessary to protect the public and uphold our values.”
As a result, the entire summer festival was scrapped and ticket holders were issued refunds.
“The Home Office has withdrawn YE’s [electronic travel visa] ETA, denying him entry into the United Kingdom. As a result, Wireless Festival is cancelled and refunds will be issued to all ticket holders,” Wireless Festival organizers said in a statement on Tuesday. “As with every Wireless Festival, multiple stakeholders were consulted in advance of booking YE and no concerns were highlighted at the time.”
“Antisemitism in all its forms is abhorrent,” they continued, “and we recognise the real and personal impact these issues have had. As YE said today, he acknowledges that words alone are not enough, and in spite of this still hopes to be given the opportunity to begin a conversation with the Jewish community in the U.K.”
Ye said, in a statement reported by the BBC, that he was “following the conversation around Wireless”, and that “I know words aren’t enough…I’ll have to show change through my actions. If you’re open, I’m here.”
Ye has been mounting a comeback after years of erratic and conspiratorial remarks about Judaism and Jewish people, and openly embraced Nazi symbols in his merchandise. He recently took out an ad in the Wall Street Journal, saying he struggled with a frontal-lobe injury from a car crash and a bipolar type-1 diagnosis. “I gravitated toward the most destructive symbol I could find, the swastika…I lost touch with reality. Things got worse the longer I ignored the problem. I said and did things I deeply regret.”
He recently released a new album “Bully” and headlined SoFi Stadium in Inglewood, performing a hit-heavy set without incident. He did not address his recent behavior.
Early in “The Drama,” things are still good between Emma (Zendaya) and Charlie (Robert Pattinson). The young happy couple, about a week away from getting married, have enjoyed a whirlwind romance. As this dark comedy’s opening credits roll, they’re blissfully practicing their first dance, laughing and stumbling as they try to get their twirls and steps right.
But the scene’s highlight is the song that plays in the background, airy, gentle and simple. Spare guitar chords give way to a female voice that sounds unpolished but beautiful: “I want to lay with you/ In an open field/ Where yellow flowers are suns of Earth.”
For many viewers, this will be the first time they’ve ever heard “I Want to Lay With You,” one of the most gorgeous love songs of the 1970s. It’s also likely they’ll have no idea who the singer is. Her name is Shira Small, and in 1974, she recorded an incredible album, “The Line of Time and the Plane of Now,” when she was 17. She never recorded another — at least, not yet. Now nearly 70, Small may finally be getting her moment in the spotlight.
“I’m cracking up,” says Small over Zoom from her Cooperstown, N.Y., home, “because I had no idea whatsoever that that movie was coming out until my dear sister informed me via you.” Flashing a relaxed smile and sporting long gray hair, Small knows little about the controversial “The Drama,” an A24 film with a heavily guarded twist.
Robert Pattinson and Zendaya in the movie “The Drama.”
(A24)
But it’s becoming a delightfully frequent occurrence that Small learns after the fact that her music is featured prominently in a movie or television show. “The record company does what they do and then they send me royalties and I get it in a statement,” she explains. “I had a song that HBO bought for ‘Pause With Sam Jay.’ They sent me an email that was not even to me — it was this interdepartmental thing. At the bottom, it said, ‘Oh, by the way, it airs tonight.’”
Jemma Burns, music supervisor for “The Drama,” had been a fan of Small’s album, thinking “I Want to Lay With You” would be perfect for this idyllic scene, right before Emma and Charlie’s relationship implodes over a disturbing revelation that turns their dream wedding into a nightmare.
“He was trying to set up the rom-com tone,” says Burns of the movie’s writer-director Kristoffer Borgli, “one that would contrast with the modernity of the setting and where the film goes. He wanted something that was from a bygone era, but also something that felt disarmingly charming. The two lead characters are very switched-on, fashionable, arty. So it felt like something they would’ve had in their record collection.”
The youngest of five siblings, Small always loved singing. But even as an adolescent growing up in Harlem, she felt like an old soul, her thoughts running deeper than the average kid’s.
“My focus was on not understanding war and hatred and bigotry,” she says. “I was seriously into trying to make love happen everywhere.”
Against the backdrop of the war in Vietnam and the Black Power movement, Small was well on her way to becoming a hippie, a transformation amplified by her enrollment in a private Quaker boarding academy, George School, in Newtown, Penn., on a full scholarship. When she arrived at George School, Small recalls, laughing, it was “very rich and very white. But I’ve always been a flotation device. I can walk around like I don’t have a clue about things.”
Shira Small, photographed in 1971 at George School in Newtown, Penn.
(Courtesy of Shira Small)
At George School, Small sported an Afro and smoked weed. She was drawn to theater and music, impressing music teacher and classical pianist Lars Clutterham, who saw she had talent. They worked on songs together, with Small coming up with the lyrics and vocal melodies. Every student had to complete a senior project, so Small proposed that hers be an album. Not long after, she and Clutterham drove to a Philadelphia studio for a one-day session.
The 10 songs on “The Line of Time and the Plane of Now” — each recorded in only one take — mix folk, soul and jazz, radiating innocence. The arrangements, awash in old-school analog warmth, are straightforward: guitar or piano supplemented with drums, leaving plenty of space for Small’s lilting voice, which contains both idealism and, even as a teen, traces of real-life sorrow.
Her mother died while she was at George School, inspiring “My Life’s All Right,” a ballad about surviving tough times, which later appeared on the Sam Jay show. “Eternal Life” sprang out of her in one burst, celebrating the power of love to transcend life’s harsh realities. As for the movie’s “I Want to Lay With You,” it was about a boy Small liked. She just can’t remember who anymore.
“It was somebody who was just as much a friend as a person that I had a crush on,” she recalls. “I honestly felt that we could have a life together.”
Small laughs at her adolescent self. “Like I knew what it would be like to have a freaking life together! To be able to wake up with somebody and have a beautiful day and always make them smile.”
According to Small, George School’s parents and students raised money to pay for the album and 300 copies were produced. “It was a joyous time,” she recalls. “I was on my way — to somewhere!” After graduation, though, she struggled to find her footing, eventually graduating summa cum laude from the City University of New York with a theater degree. But then she chose pre-med, becoming a physician assistant.
“When I became pre-med, it was so hard for me that I was just tunnel-visioned,” explains Small about why she said goodbye to music. “I had to devote my whole self to it. It was so all-encompassing that I could think of nothing else.”
But there was another reason she walked away from music. From an early age, Small suffered debilitating stage fright. “It was so bad that it would twist my stomach into a knot,” she recalls. She gutted it out to do plays at George School and, later, record her album. After a while, though, “It just got to be too much.”
Still, didn’t she miss singing? “Constantly,” replies Small, who retired about five years ago from the medical profession. “I sang unconsciously a lot. My patients always picked up on it — they’d be like, ‘Every time you come in, you’re singing.’”
But although Small abandoned music, “The Line of Time and the Plane of Now” never went away. In 2006, the Numero Group, an archival record label, put together a compilation, “Wayfaring Strangers: Ladies From the Canyon,” devoted to under-the-radar female singers from the 1970s. Numero Group co-founder Ken Shipley made sure “Eternal Life” was included.
“I was the first person to ever reach out to Shira,” he says proudly in a separate phone interview. Shipley heard “Eternal Life” on a burned CD of femme-folk artists that was making the industry rounds at the turn of the millennium while he was putting together his “Wayfaring Strangers” lineup. “Shira was a top want for me.”
The Numero Group put “Eternal Life” on Spotify in 2013. But when the label released the full album digitally in 2022, “I don’t know that anybody really cared,” Shipley says. Undeterred, he reissued it on vinyl the following year. Maybe listeners just needed time.
“Music finds a way,” Shipley says. “Music’s like water. It’s going to get down the creek into the river into the ocean. It’s going to find its audience.”
Sure enough, strange serendipitous moments started happening for Small. A future bandmate’s ex had one of her songs on a playlist, having no idea it was Small. She recently started working part-time at a local opera house and one of the opera singers adored “Eternal Life,” unaware that Small was an employee.
And now, royalty checks arrive for the usage of her songs in films like “The Drama.” It still feels unreal to Small that her album generates revenue. “It was never for commercial purposes,” she says. “I can’t believe that I am collecting any royalties on that music and that it just keeps going and going.”
Small’s husband died in 2019 after 34 years of marriage. It sent her spiraling, but then something remarkable happened. “The day I came out of it, the music was gushing out of me so fast that I couldn’t keep up with it,” she says. “I had to walk around with a voice memo. I hadn’t spoken to Lars in more than a decade. I sent him all of these voice memos and he sent me a note: ‘Shira, you still got it.’”
In 2024, she released her first song in 50 years, “Why,” which lays out her fears for the world. Her voice is different, deeper, possessing a lifetime of experience that her teenage self couldn’t have possibly imagined. Small is now plotting out an album and has some shows lined up. Even better, she’s worked through her stage fright.
Eventually, she’ll perform her old songs, but she’s figuring out how to hit that higher register from her youth. “I’ve gone through decades of hormones and cigarettes and all the other things that I did that I’m happy I lived through,” she says, wryly.
“I still have a thing about yellow flowers in open fields,” she admits. “We have these huge sunflower fields here. The whole idea of being in such a beautiful place with yellow flowers that light up a great day is what popped into my head when I wrote that lyric.”
I ask her what she makes of that young woman she hears on “The Line of Time and the Plane of Now” today.
“I know her so well,” replies Small. “You know why? Because she’s still here. I am, at this point, everybody I’ve ever been ever, leading up to this moment.
“I still feel the same way about many things,” she continues. “I’m probably angrier now than I was when I was a child, but I still have this underlying thing about looking at a bigger picture to help me keep my lid on. When I think back on ‘Eternal Life’ and ‘My Life’s All Right,’ that music was born from my core. And my core does not have an age.”
Eugene Mirman appears to be in good spirits after being injured in a fiery car crash.
The comedian and “Bob’s Burgers” actor shared an Instagram update Friday to reassure fans he is “doing relatively alright, all things considered.” Mirman was hospitalized for serious injuries on Tuesday after being pulled out of the window of his Lucid Gravity that had caught fire after crashing into the Bedford Toll Plaza in New Hampshire.
“I am extraordinarily thankful to the heroic people that pulled me from the car and to the warm, kind and talented staff at the hospital that cared for me and got me on the mend!” Mirman wrote in the caption accompanying a photo of himself bandaged up and holding a piece of art that reads “Life is an Adventure.” “I am thankful beyond words to be here and doing relatively alright, all things considered.”
He also thanked everyone who had reached out with “well wishes, love and kind messages.” While Mirman appears a bit banged up in the photo, it did not keep him from including a dash of humor in his update.
“I don’t have my phone, so haven’t been online much,” his post continued. “I do not recommend my method of decreasing screen-time. If you’re a friend who sent a kind, loving message, you should know that it was hard to not respond with, ‘I’d love to be on your podcast.’ I love you all and please take care of yourselves.”
Among those who helped Mirman before first responders arrived were New Hampshire Gov. Kelly Ayotte and her security detail.
“I want to thank the Trooper on my security detail and the bystanders who stepped up to help at the scene of the crash for their brave lifesaving efforts today,” Ayotte wrote Tuesday in a post on X. “Joe and I are praying for the full recovery of the driver who was injured today.”
Mirman voices middle child Gene Belcher in Fox’s animated comedy “Bob’s Burgers,” which is currently in its 16th season.
Thanks in large part to President Trump’s disastrous policies, Democrats have a decent shot at not just retaking the House, but maybe even flipping the Senate.
Here’s the thing to know: Midterms are a referendum on the incumbent president. And this is especially true when the president is Donald Trump, who dominates every news cycle. He creates weather. He is, in short, always the issue.
But what happens when Trump is gone? What happens when Democrats have to defend their record of leadership? What happens when the referendum is on them?
Even now — as Dems appear to be surging — polling suggests that fewer than 40% of Americans view the Democratic Party favorably. That’s not exactly a mandate.
Yes, voters might choose Democrats as the lesser of two evils this November, but that doesn’t mean Americans are out there buying Democratic foam fingers. Not yet, anyway.
It also doesn’t mean Democrats are technically competent. As I type this, the Republican National Committee currently has a 7-to-1 money advantage over Democrats.
While Dems might win in 2026 in spite of all of their problems, a false sense of security would not bode well for 2028 — and beyond.
In fact, “beyond” starts to look structurally challenging, with things like the 2030 census and potential changes to voting laws threatening to rearrange the electoral map in ways Democrats will not enjoy.
But before we spiral into a dystopian future, let’s focus on the single most important decision Democrats will make: their 2028 presidential nominee. I’m not saying issues don’t matter. They do. But candidates function as shorthand for those policies.
That’s how politics works now: less like a detailed policy seminar, and more like a series of vibes that overwhelm us on our iPhones.
The next Democratic nominee will redefine what their party stands for. This one choice could spell defeat or a stunning victory that ushers in a political reordering.
Part of the challenge is that Trump has scrambled traditional political categories. He has borrowed selectively from modern Democratic economic policy preferences — tariffs, skepticism of free trade — while discarding unpopular ideas like entitlement reform and parts of the old Republican moral framework.
The next Democratic nominee will have to scramble things, too.
This isn’t a call for them to “move to the center” or “radicalize to the left.” Scrambling isn’t a linear project.
Let’s start with the premise that Democrats cannot afford to be outflanked on populism again. That already happened once, and it was not their finest hour.
Economic inequality is rising, and artificial intelligence threatens to widen that gap while disrupting millions of jobs. Meanwhile, the tech billionaires (who will profit handsomely from AI) are all lining up behind MAGA.
Putting these tech bros on the ballot should be a no-brainer.
Likewise, young people who were wooed in part by Trump’s “no new wars” promise are suddenly disenchanted.
Democrats should capitalize by nominating a candidate who can credibly promise “no stupid wars.”
In 2024, Trump capitalized on areas where progressives became out of step with mainstream values on cultural issues. Here, Democrats face a different challenge: realigning with mainstream public opinion without sounding inauthentic or uncompassionate.
Let’s take the issue of immigration. Democrats can vehemently oppose the ICE raids while also promising to keep most of Trump’s border policies in place.
Consider the recent comments of Texas Democrat James Talarico, the Senate nominee who recently criticized outside advocacy groups that convinced the Biden administration “that it was racist to support border security.” He added: “Nothing could be further from the truth.”
But that’s not the only issue that has proven to be devastating for Dems. As Thomas B. Edsall recently wrote in the New York Times, “The trans issue clearly weakened Kamala Harris’s presidential campaign, leaving her open to devastating pro-Trump ads.”
Here, a future Democratic nominee might simply say, “What adults do is none of our business, but I am not going to support taxpayer funding of ‘gender-affirming surgery’ — or the use of irreversible treatments or procedures for kids, or trans women competing in women’s sports.”
Don’t hold your breath waiting for Dems to take my advice in the 2028 presidential race — especially if they have a great midterm election night.
Indeed, Ruy Teixeira, a political scientist who has warned Democrats that they have shifted too far to the left, recently lamented that “the desire for change seems to be hovering around zero, as more and more Democrats have convinced themselves that their problems have essentially been solved.”
The path forward is not especially mysterious, but it is very difficult.
In the short term, Democrats can probably ride the blue wave. But in the long term, they need a standard bearer who can synthesize economic populism with mainstream American cultural credibility.
The future may rest on whether that political savior ever arrives.
UCLA football coach Bob Chesney wasn’t looking for star performances during the Bruins’ first spring practice on Thursday — instead, he wanted his players to focus on holding themselves accountable for putting in their best effort.
“We talk about the mirror test. Don’t worry about what your coach says, don’t worry about what your other teammates say,” Chesney said. “Go look at yourself in the mirror. That’s really the only guy that’s gonna know, right?”
There was excitement and intensity but perfection wasn’t expected. For the new head coach, it was about whether the fundamentals UCLA worked on throughout the winter carried over, he said.
“While I watch it out here, the things that don’t take skill, the things that don’t take great genetics, were the things I wanted to focus on today more than anything — the effort,” Chesney said.
UCLA quarterback Nico Iamaleava stretches with teammates at Spaulding Field on Thursday.
(Robert Gauthier/Los Angeles Times)
“We’ll go and watch the film and figure the rest of it out, but I didn’t think it was a bad day.”
Chesney said he plans to build on each practice, and his coaching staff will set a standard that trickles down to the players. He said there will always be something to improve and something to build toward.
Ta’Shawn James, a defensive back who transferred from Iowa to UCLA, showed strength during drills — an encouraging sign early in his progression.
“It’s Day 1, it’s the first time we’re running at full speed, it’s the first time we’re out here seeing people redirecting, what his makeup speed looks like,” Chesney said. “When he makes a mistake, how quickly can he recover? What’s his range in the open field? What’s the speed differential? All those things are things we’re looking through on just about everybody out there.”
“Not to name names, but they are all physical, they’re all downhill players. They protect the football well. What their bodies look like is phenomenal,” Chesney said. “ … There’s some stuff in that room that’s just a little bit different right now, so we got to keep them healthy, keep them playing downhill and doing what they do.”
At right tackle, the competition is wide open.
“A lot of guys, we’re not really at a spot to just nail that down just yet. Give me a couple more days on it. But, right now, there’s a lot of guys rotating through a lot of different places,” Chesney said.
As spring practice gets started, it is not about individuality, Chesney said, but about identifying and correcting mistakes.
“Dwelling on the past, if it was bad, is not gonna get you anywhere. Getting too high in the successful moments isn’t gonna get you anywhere,” he said.
Chesney wants his squad to play without any limitations or hesitations.
“You set these standards, you live by these standards, you hold them accountable to these standards, not only the coaches and the players, but everybody that’s part of this program.
UCLA coach Bob Chesney leads the Bruins through their first spring football workouts on Thursday.
(Robert Gauthier/Los Angeles Times)
“That starts to build trust within the team,” he added.
UCLA’s social media accounts highlighted Chesney’s efforts all offseason to preach personal accountability and serving others, doling out a mix of John Wooden and Ted Lasso life lessons.
Chesney reiterated at the start of the next chapter — spring football workouts — that he wants his players to keep pushing to be great people. If they expect to be successful on the field, Chesney argues, they must first be successful off it.
“You can only be one degree of separation from how you’re living your life,” he said. “… We don’t have any bad guys that are bad students, that are bad teammates, we don’t have any of that, we have really good guys so they have a chance to be great at football.”
Alum donates $10 million
UCLA alumnus Angelo Mazzone III committed $10 million to the football program to help maintain the infrastructure needed to compete at the highest levels.
“For him to be as generous as he is and willing to help us with that, I think that’s a big deal,” Chesney said. “It talks about just the investment and the belief people have in this program at this current moment and rightfully so.”
Amanda Batula and West Wilson weren’t being coy — not “purposely” anyway.
The stars of the Bravo reality series “Summer House” — where a group of friends spend their summer weekends in the Hamptons and drama ensues — were just letting the romance percolate. And now they’re making it official.
The pair shared statements on their Instagram stories that they “wanted to provide some clarity” as rumors swirled about their status.
“It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we need a little space to process things privately before speaking on it,” the couple wrote. “We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected.”
Over the course of the series, which debuted in 2017, relationships have become intertwined.
Wilson dated fellow “Summer House” co-star Ciara Miller, a close friend of Batula, in 2023.
And Batula was married to series co-star Kyle Cooke. In January, she announced their split, writing on an Instagram story that the couple had decided to “mutually and amicably” end their relationship. They married in 2021 and documented their struggles on “Summer House,” including when Cooke cheated on Batula in 2019, and spent the night at a fan’s apartment in 2025.
The pair explained that they chose to wait to publicly announce their relationship “to take time to understand” what they felt.
“Our connection grew out of a genuine, long-standing friendship, which made it especially important for us to approach this with care,” they wrote. “We also recognize that this has had an impact beyond just us and never wanted our actions to cause any hurt or be perceived as careless.”
Wilson previously insisted that Batula was just his “home girl” on an episode of “Watch What Happens Live With Andy Cohen.”
“We were just hanging out in New York. She’s single, I gotta show her the streets a little bit,” Wilson said on Friday. “But if it’s not clear, that’s a very important person to me, and I care about her a lot.”
While on “Watch What Happens” in early March, Cooke said he found the rumors about Batula and Wilson “ outrageous,” and that he didn’t think “there’s any merit to it.” Although he denied the rumors, he still voiced his support for Batula.
“It would certainly catch me by surprise and feel a little reckless. And I think I’d probably be the last person people would be worried about,” Cooke said. “But if it made Amanda happy, I think I just would have to vote ‘yay.’”
Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.
The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”
Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.
When Desai plans the company’s season lineup, he always surveys the year ahead — literally.
“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.
Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.
As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.
This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.
“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.
“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”
The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.
Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”
“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.
Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”
“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.
“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.
Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.
“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.
The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.
Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.
With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”
After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”
The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.
“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”
Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.
There’s a lot of chatter around reality TV right now and the hazards of leaning into mess for the sake of potential viewership. Before Utah-based reality star and social media influencer Taylor Frankie Paul was making national headlines over domestic violence allegations brought against her by former boyfriend Dakota Mortensen — putting “The Bachelorette” and “The Secret Lives of Mormon Wives” series under interrogation — The Times was working on a group of stories that captured the longevity and cultural impact of the unscripted format.
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Speaking of reality TV — Valerie Cherish and “The Comeback” have returned for another round of the showbiz satire. The HBO comedy, which blends scripted comedy with a mockumentary format, originally premiered a year before the “Real Housewives of Orange County” and lampooned the effects of the early-2000s reality TV boom. It followed Valerie (Lisa Kudrow), a former sitcom star from the ’90s, as she attempts to revive her career by starring in a new sitcom while allowing a reality TV crew to document her journey. When the short-lived series was revived in 2014, it poked fun at the rise of prestige TV and the evolution of celebrity culture in the social media era. Now, its third and final season finds our favorite leading lady navigating Hollywood’s AI revolution. Michael Patrick King, who developed the series with Kudrow, stopped by Guest Spot to discuss the show’s latest timely exploration.
Also in this week’s Screen Gab, we take a breather from current programming and dust off two bygone titles. One is an animated sitcom that revolves around a mild-mannered therapist and his sessions with a notable clientele of real-life comedians playing exaggerated versions of themselves; the other is a mid-aughts thriller (of the Lifetime TV variety) that follows a heroic doctor who moonlights as a dangerous predator — its Letterboxd rating spread is something to behold. And it’ll make you wonder what Valerie Cherish might have brought to camp like that.
Let it all be incentive to spend some extra time on the couch this weekend — it’ll cut down on trips to the gas pump! Until next week.
— Yvonne Villarreal
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Recommendations from the film and TV experts at The Times
Dr. Katz, played by creator Jonathan Katz, invites his ex-wife, Roz, played by actor/author Carrie Fisher, to indulge in a dysfunctional family Thanksgiving on “Dr. Katz, Professional Therapist.”
(Comedy Central)
“Dr. Katz, Professional Therapist” (YouTube)
Once in a while the algorithms that rule our lives do us an actual favor, and so it was that YouTube alerted me that the entirety of this great turn-of-the-century cartoon lives there, hosted unofficially on a variety of channels. (Just type in the title.) Created by star Jonathan Katz with Tom Snyder, the inventor of an animation workaround called Squigglevision — in which vibrating outlines give a crude effect of action — and co-produced by Loren Bouchard, who would go on to co-create “Bob’s Burgers,” this six-season, semi-improvised, Peabody Award-winning Comedy Central series is founded on the notion that a comedian’s patter can resemble the neurotic unloading one might encounter in a psychotherapist’s office. And so onto Katz’s couch comes a parade of future comedy elder statespersons, naively but recognizably rendered, including Ray Romano, Lisa Kudrow, Dave Chappelle, Garry Shandling, Marc Maron, Catherine O’Hara, Margaret Cho, Wanda Sykes, Patton Oswalt, Sandra Bernhard, Paul F. Tompkins, David Cross, Jim Gaffigan, Steven Wright and Conan O’Brien. Rodney Dangerfield, already an elder comedy statesperson, has some things to say about his wife. Framing the therapy sessions are the domestic misadventures of Katz and his adult child son, Ben (H. Jon Benjamin, the Mel Blanc of adult animation, if Mel Blanc only used his own voice). Can’t-be-bothered secretary Laura (Laura Silverman, recently seen as Jane the documentarian on the new season of “The Comeback”), fills out the regular cast. — Robert Lloyd
“Stalked by My Doctor” (Tubi)
Last weekend, the Museum of Home Video hosted an interactive game at Vidiots where the sold-out crowd watched the first five minutes of 10 films and then voted on which flick to finish. “Stalked by My Doctor” won in a landslide. This 2015 Lifetime TV movie is one of the most bizarrely watchable trash films of the 21st century. Eric Roberts stars as Dr. Beck, a lovelorn, egotistical California cardiologist who is convinced he’s a catch. This graying bachelor falls for his patient, a high schooler named Sophie (Brianna Joy Chomer) and, when rejected, threatens to clobber her disabled boyfriend (Carson Boatman) with the guy’s own crutch. Filmmaker Doug Campbell makes B-pictures like a plastic surgeon does liposuction: He hacks off all the fat. Subtle? Absolutely not. Yet, there’s not a single dull scene and the characters make smarter moves than you’d expect. By the end, I was hooting and clapping, and giddy to hear that this top-notch schlock launched a five-film franchise. Some night soon, you can bet I’ll put on “Stalked by My Doctor: Patient’s Revenge.” — Amy Nicholson
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Lisa Kudrow as Valerie Cherish in “The Comeback.”
(Erin Simkin / HBO)
Could ChatGPT deliver a script worthy of Valerie Cherish’s talents? More than 11 years after it was last revived, “The Comeback” returned this month with a third season that explores the fear of technology replacing artists, and the ethical compromises that arise, through its sharp and uncomfortable comedic touch. Valerie is offered the lead in a new sitcom, “How’s That?,” on a faltering streaming service called the New Net. But there’s a catch. It’s the first-ever TV series to be written by AI — a fact that network brass wants to keep secret to avoid industry backlash. Valerie is initially resistant to the idea, but a humiliating experience on an indie shoot has her reconsidering. Is she about to be part of the new future of TV? A new episode of “The Comeback” drops Sunday on HBO and HBO Max. Over email, King shared his worries over how AI may transform the entertainment business and the series he’d pick to join the comeback circuit. — Y.V.
This season has Valerie Cherish starring in the first sitcom written by artificial intelligence. The series has always hilariously explored industry shifts. What concerns or curiosities do you have regarding AI, and did those evolve as you worked on the season?
Concerns — yes, many. They range from young writers with nowhere to learn their craft to no writers, young or seasoned, anywhere but the Coffee Bean & Tea Leaf. And yes I’m curious — white-knuckle curious — to see how the threat of AI (Season 3) will change how we make TV compared to how way the threat of reality TV (Season 1) and the threat of prestige cable and streaming (Season 2) did. Spoiler alert …television and TV writers are still here. When is this being published?
Without spoiling anything, there’s a scene in this week’s second episode where Valerie takes a meeting with some Hollywood folks — and it’s an odd experience. Do those meetings feel any more confusing or bizarre to you, in terms of how network brass thinks about the landscape, than they did a decade or two ago?
That billion-participant Zoom scene in the episode is very reflective of the “pitch process” today — in fact more than reflective — it’s a documentary … minus the occasional “pop-up pet.” What’s missing from this current Zoom pitch process is the in-person connection, which also accounts, I think, for why you no longer hear the phrase: “I sold it in the room.” No room, more people — less sales?
What does your writing process with Lisa Kudrow look like? Place me in those weeks of writing the first episode of this season.
The first and every episode has the same process. We talk, we laugh, we eat, we improv, we take turns writing it down — you know, things human writers do.
In addition to this third go with “The Comeback,” you worked on multiple seasons of “… And Just Like That.” What have you found interesting about the process of revisiting characters at a different stage in your life? Has one felt easier to navigate than the other in the current entertainment landscape?
I’m fascinated by a character’s personal evolution — how they can grow over the years. Who they were, who they might be now, what they’ve let go of — how they’ve changed. I’m also fascinated by how some fans of these characters don’t want them to change. In the current TV landscape — the fans are very vocal.
What have you watched recently that you are recommending to everyone you know?
“The Pitt” [HBO Max]. In addition to the good characters, it’s the thrill of being introduced to new actors.
As a viewer, which show — excluding those in your catalog — do you think would be worthwhile to revisit in 2026?
“Freaks and Geeks” [Prime Video, Paramount+]. One season only. Sometimes … a special show that was canceled — deserves a comeback.
Ranting about the decline of comedy specials while releasing a new one at the same time feels a bit like an oxymoron. But somehow it still makes sense coming from alt-comedy pioneer David Cross, who isn’t just complaining; he’s finding his own route to making specials feel special again. The only way to do that is by putting one out in the manner he’d like to see more often — starting by making the whole crowd stand up too.
Capturing the energy of a concert at the famous 40 Watt Club in Athens, Ga., was the first step in differentiating “The End of the Beginning of the End” from the typical hour you watch on a big streamer. And, with this new special, Cross is able to get back to his own beginnings of touring across the country with love bands as his openers, performing for crowds for as long as he could until he had to run offstage to pee.
Premiering the special earlier this month on his website (and on April 7, it will be available on YouTube via production company 800 Pound Gorilla), Cross is hoping the special connects with comedy fans in a way that we’ve forgotten specials could.
This interview has been edited for length and clarity
Your new special is called “The End of the Beginning of the End.” What does that title mean to you as it relates to the impending doom of what we’re all living right now.
David Cross: Well, you can look at it in a couple different ways. To me, it signifies that the beginning of the end has occurred. And we are now at the end of the beginning of the end. And from where you go with that, that’s for you to decide.
One of the things I love about the special is the fact that you shoot it at a club in the style of a live–music concert.
I’ve shot specials in theaters and it’s just different, not that one is better than the other, but they’re just different. You have a different relationship with the audience. When I first started touring, I would go to music venues and I’d have a band open for me and then I would just go up and pretty much [perform] as long as I could until I had to pee. Sometimes I’d have a band playing, sometimes two bands, then I’d go out. And I did that a couple of times, and then stopped doing that and did theaters, and I decided for the last two specials I’m going to go to, when I shoot it, I’ll go to a music venue, and I was at the 40 Watt Club in Athens this last time, I was at the Metro in Chicago before that, both places I played on earlier tours, and, you know, it’s not seated. People are standing there at the stage, and I prefer it. It’s more fun. It’s not as lucrative but, to me, a more fun show to do.
Comedian David Cross
(Jason Armond / Los Angeles Times)
The ambience of it was great.You can hear people shouting and drinking and having a good time, and the crowd work is also a little more spontaneous and fun than it would be in a regular venue.
Yeah, well, there’s more opportunity for that. But my thing has never been about crowd work. I like engaging with it, it’s kind of a nice distraction from the set that you’ve been doing 100 times, 150 times at that point. So it’s always fun to have that thing happen and that feeling of spontaneity. And like the guy [who I talk to in the crowd during the special], I could not have asked for [someone better]. I mean, even if it was scripted, it wouldn’t have been as good. The guy who [I talk to] during the stuff about hiking Machu Picchu [with Bob Odenkirk], that’s just… [chef’s kiss].
Speaking of Bob Odenkirk, you guys have this long relationship. How would you describe the dynamic of working with Bob and just how you guys bounce ideas off each other?
I mean, it’s great. We have an inordinate amount of respect for each other, both as people and as creative partners. And so there’s never any real issues. There’s things we will definitely disagree with, but we’re both decent people. So you know somebody backs off and says, “OK, let’s do it that way.” But even then, there aren’t that many of those [issues]. We just have really worked well at building something or molding it, creating it and shaping it. And our aforementioned hike to Machu Picchu, we have a documentary about that, that will be premiering at a fancy festival at some point in the near-future. And so we got that doc and we’ve been working on that. And for the way we work now, because he lives in L.A. and I live in New York, and it’s been like that for a while, he’ll write a bunch of stuff, I’ll make notes, I’ll write my things, send it back. And so we’re able to do that and not necessarily have to be in the same room because we’ve had 30-plus years of working with each other.
It’s a kind of like an unspoken language you guys probably have in terms of comedy, which is super important, I imagine, just for collaborating.
Yeah, and it’s something we discovered very early on … before there was even “Mr. Show,” what would ultimately become “Mr. Show,” when we got together to write sketches for this bigger kind of comedy collective thing, and these shows that we would all do with each other, for each other, and the stuff that we would write together was just, like, really good, easy writing — again, one person adding this thing and one person saying here’s a switch yeah and another person adding this thing in. It was fun, it’s cool, still is. One thing he doesn’t get credit for is he’s a really decent human being. And with all the awfulness in the world that’s magnified, every sense is bombarded with it — it’s just good to be hanging with somebody whose energy is a good person, a decent person and an equitable, nice guy, so that’s good as well.
Comedian David Cross poses for a portrait ahead of his comedy special “The End of the Beginning of the End.”
(Jason Armond / Los Angeles Times)
One thing you guys also have in common is you both have kids, and he has a comedy show for kids called “The Appropriate Show.” Have you taken your daughter to see it?
It’s a sketch show [in which] all the sketches are appropriate for kids to watch. And the sketches have been done in other sketch shows onstage, live. And he puts together this thing once, twice a year here in L.A. And I took my daughter to it last year. It’s just sketches that kids can [understand]. At least if they don’t understand the actual references they get the archetype. “Oh, that’s the boss, that’s that uh… And it’s great, it’s a really cool idea uh… “ And would an ass— think of [a show like] that? No, one good decent person; a good man. But listen, this interview isn’t about me, it’s about Bob Odenkirk, so let’s get back to that.
Well, speaking of having comedy geared toward kids, your daughter’s at an age where she’s probably consumed or seen some of your comedy at this point.
Not, not really. No, no.
Do you shield her from your stuff, or are you not so concerned about it?
I don’t actively shield her, but I don’t introduce her to anything. So I was a little bummed out, and I got over it pretty quickly, but when I found out that she had seen a little bit of “Alvin and the Chipmunks,” and only because I don’t want to spoil the enjoyment of what movies are and what kids’ movies are and how things work. And I feel like that would introduce an element of reality that I want her to be able to just enjoy these things without — she’s seen “Kung Fu Panda”when she was younger, like, I don’t know, three, four, five times, has no idea that I’m in that, that my voice is in there. She knows I do stand-up, she gets that now. And when she was younger, she’d say, “Daddy’s silly for a living.” … I’m just trying to ride the balance of letting her have those childhood joys and experiences.
Comedian David Cross.
(Jason Armond / Los Angeles Times)
Does having a kid make you think about what’s coming up in the future of comedy, or what kids are gonna maybe find funny, or what they find funny now? Do you have any thoughts on kid comedy in general?
Not really. I mean, I can see that she and her friends, who are kind of like-minded, are naturally funny, and then that’s kind of encouraging and heartwarming and they’re silly, but I’ll be long gone when that generation is is providing comedy. And I’m still, although I’ve kind of given up, I’m still trying to grasp what works now. I mean, it’s short-term TikTok, Instagram stuff. There are some amazing, like really, really great things being done as far as film sketches for YouTube channels. “Almost Friday,” they’ve got genius-level stuff. I mean, really good. And where the sketch goes in a place, you’re never ahead of it, goes in a place where you’re not expecting. It’s really well written and well performed.
What are your thoughts on what a comedy special is nowadays or what it should be?
I mean, that’s a great question. I think anybody who plays with the form, whether I think it’s that funny or not, is different. But I’m happy when anybody kind of tries at least to play with a form. I just went to Rory Scovel‘s taping last week of his latest special. I don’t know when that’ll air, but if you’ve seen the beginning to his first special, stuff like that where you’re like, “Wait, what’s happening? What’s going on?” I love stuff like that.
I still get excited to watch specials by some of my favorite comics, but there’s a quality that’s missing. And these are stand-ups I love, and they’re not that great. They’re not bad but they’re not special, you know? And all those guys I mentioned, and more, have great specials. Like, you can go back and they’re great. And I don’t know why that is. I mean, there’s still funny stuff, but I don’t ever want to get to that place where its just feels a little phoned-in a little bit… that is, in part, why the last two specials were shot in this more intimate setting that feels special. And … as I said, the energy’s different, it’s a little bit different, and it’s less slick. It feels like you’re in the moment. You don’t need a million dollars to shoot a special. You don’t 28 camera angles, it‘s just bull—. And it takes something away.
Comedian David Cross
(Jason Armond / Los Angeles Times)
It all should feel the right amount of unsafe as well, I think.
That’s never gonna happen at a theater show. You’re never gonna feel that. And I don’t know, it really does feel almost like maybe we peaked in a sense, like there’s too much, and because of that, these things aren’t special. They’re not revelatory, they’re not unique. I dunno, can 18,000 people in an arena really relate to a … billionaire talking about how they’re gonna get canceled. I mean, is that a thing I guess? Those other big, slick specials that are shot in, like, a 3,200-seat, 3,500-seat theater, it just feels like, “Oh this person is up there and I’m listening to their jokes.” There’s nothing wrong with that. They’re often very funny jokes, but it doesn’t go beyond that. It’s just like, “All right, tell me your joke.” It might as well be an audio thing, you know?
Well, hopefully the robots aren’t coming for your job anytime soon.
Absolutely not. I mean, this could be naive, but I feel 100% safe that you are never going to replicate an evening of stand-up at a nigtclub like that. And not sitting down at tables while you’re having drinks and waitresses are coming by. I’m talking about everybody’s up on the stage, sold-out, maximum capacity; everybody’s there, focused, we’re all sharing that thing. You can’t. AI’s not going to be able to do that.
Yeah, the robots can’t do that, Terminator can’t do that..
Oh, I forgot about Terminator. He could do that. G— it.
SACRAMENTO — The UCLA women’s basketball team hasn’t lost a game in 120 days. In that time, the Bruins have outscored opponents by a total of 806 points and just one other school — UConn — has gone without a loss during the same stretch.
Yet somehow, the No. 1 seed in the Sacramento 2 region of the NCAA tournament hasn’t captured the same momentum and praise as the other three top seeds who have muscled their way into the Sweet 16.
UCLA (33-1) will play No. 4 Minnesota (24-8) at 4:30 p.m. PDT Friday in Sacramento. The game will air on ESPN. Entering the matchup, is UCLA’s less dominant NCAA tournament run a cause for concern? Or is a win a win when it comes to March?
“Each game is going to present different adversity points,” UCLA coach Cori Close said. “And I think that we don’t look at it as getting back to something. We look at it as everything is a learning opportunity. ‘What does that teach us? How does that make us better? What kinds of things do we need to tighten up?’”
UCLA forwards Angela Dugalic and Gabriela Jaquez double team California Baptist guard Filipa Barros during the first round of the NCAA tournament at Pauley Pavilion on March 21.
(Gina Ferazzi/Los Angeles Times)
As the No. 2 overall seed in the tournament, UCLA is on a projected collision course with the top overall seed, undefeated UConn, on the other side of the bracket.
But the Bruins, who have lost just once this year, also might have to hit another gear to get to to beat formidable teams still in the tournament field.
UCLA punched its ticket to the NCAA tournament with a Big Ten title game win over Iowa by 51 points. Since then, the Bruins haven’t achieved that kind of dominance even against lesser opponents.
Iowa, which flamed out to No. 10 seed Virginia in the second round last week, could have simply been less prepared than other NCAA tournament teams. But the Bruins do acknowledge they also have room to improve.
“I think we’re a really steady team, and obviously we’re gonna do whatever we can to win, and it changes every game, because of different teams,” said graduate forward Angela Dugalic. “But at the same time, I do feel like I have more to give, and that’s not a bad thing.”
UCLA defeated No. 16 seed California Baptist 96-43 before an 87-68 win against No. 8 seed Oklahoma State, leading the Cowgirls wire-to-wire but getitng outscored in the second half. The Bruins led the Lancers by just 10 points at the half of the first-round contest.
A 19-point win is a dominant showing for any team, but with the rest of the No. 1 seeds winning by at least 40 points, has UCLA shown that it is at the same level?
“I don’t really look at it that way from those two games,” Close said. “I just think everything is measuring ourselves against the championship standards that we’ve set, and those are process standards. And so if we fall short in an area, it’s how we get back to what we know how to do and what’s under our control.”
UCLA guard Kiki Rice points across the court while talking with coach Cori Close during an NCAA tournament game against California Baptist on March 21 at Pauley Pavilion.
(Gina Ferazzi/Los Angeles Times)
UCLA has the second-largest spread among the No. 1 seeds entering the Sweet 16 round, with oddsmakers favoring the Bruins to beat Minnesota by 18.5 points. UConn leads all teams as a 27.5-point favorite to beat No. 4 seed North Carolina. The Bruins haven’t won a game by fewer than 10 points since a 69-66 overtime victory over Ohio State on Feb. 8.
Minnesota has the ninth-best NET of remaining teams, which is better than the other teams matched up against No. 1 seeds (North Carolina is 19th, Oklahoma is 13th and Kentucky is 16th).
During UCLA’s 76-58 win over Minnesota in January, Kiki Rice scored a season-high 25 points. Since then, the Gophers have gone 12-4 while winning games by an average just under nine points while UCLA has gone 17-0 with an average margin of victory of 26.9.
“No team is perfect ever,” UCLA guard Gianna Kneepkens said. “So I think [we’re] just making sure that we know what to do, and we know what it takes to be our best. So just making sure we can do that 40 minutes every game is going to be the thing we take away [from the first and second rounds.]”
Since UCLA beat Minnesota, the Gophers took down No. 5 seed Ole Miss, a team that many picked as a tournament sleeper and shot 46.2% from the field during the season.
“They’ve gotten better, but so have we and once the postseason comes, the best teams, the most successful teams, they find ways to just continue to get better,” Rice said. “To stay true to that process, but to take it up to a next level. Because at this time of the year, it’s do or die, and you gotta compete really hard.”
UCLA’s 28.6 average margin of victory is fifth in the country behind the tournament’s other No. 1 seeds and No. 2 seed LSU, a team the Bruins might face Sunday in the Elite Eight.
LSU, the highest-scoring team in the nation, faces No. 3 Duke on Friday night. If UCLA and LSU win, it would set up the third consecutive season they have met in the NCAA tournament. UCLA won the matchup last season 72-65 to get to the Final Four, while the Tigers upset the Bruins in the 2024 Sweet 16 en route to a national title.
But March tests are far more challenging that anything the Bruins have faced to date. The veteran UCLA team is confident it can keep evolving as it chases a national title.
“I think [improving] just requires us to take things to a different place and be more aggressive and dictate in all aspects,” Dugalic said. “That’s the beauty of it, we can get there.”
PHOENIX — By the time Dodgers right-hander Roki Sasaki reached the blue backdrop set up in the Surprise Stadium interview room, he’d diagnosed the issue.
“I think it’s because of the two-seamer,” Sasaki said through an interpreter. “It kind of caused my forearm to pronate a little more. Also my arm slot was a little down.”
Those arm-side misses had, after three straight walks, prompted manager Dave Roberts to temporarily pull Sasaki from his most recent spring training appearance. But even though that start, marred by a wild third inning, brought Sasaki’s Cactus League ERA to 13.50, he’ll enter his Freeway Series start Monday with a spot in the regular-season rotation already secured.
Roberts has repeatedly made that point clear.
However, when asked directly if Sasaki was one of the Dodgers’ 13 best pitchers right now, Roberts gave an indirect answer: “He is going to start the season in the rotation.”
Answering why the organization has been so bullish on the decision requires zooming out.
“As we look out two, three, four, five, six years, it is imperative for us to integrate talented young players under our roster,” president of baseball operations Andrew Friedman said during an interview with The Times last week. “And that requires patience. And we have to have that even with the insanely high expectations we have.
“We have to be able to balance those two things, or there are a lot of cautionary tales of large-revenue teams who have had a run of success, and then they fall off the cliff.”
Sasaki, 24, is one of those young players the Dodgers are counting on to bridge the gap.
When Sasaki was posted by Nippon Professional Baseball’s Chiba Lotte Marines before last season, upward of 20 teams expressed their interest in the young phenom who was coming to the United States through amateur international free agency.
In his debut season, he produced a 4.72 ERA through eight starts — before an injury the Dodgers described as a right shoulder impingement sidelined him for much of the rest of the season. When Sasaki returned, it was as a reliever, a role he thrived in through the postseason.
Sasaki enters Year 2 with just 47 major-league innings under his belt, including the regular season and playoffs.
“On top of all those other things that you’re adapting to and learning, you’re also learning a new ball,” Friedman said. “Roki could really command his fastball in Japan, and right now it hasn’t been as good. So how much of that is the ball, how much of it is mindset, how much of it is delivery just getting out of whack? All of those are fair questions, but I think it speaks to, we have to have a level of grace with this and work with him to continue his development.
“Because we’ve seen it at an extremely high level, and now it’s on all of us to help him get back to that.”
NPB baseballs are slightly smaller, tackier and have higher seams than MLB baseballs. Players making the transition to MLB also have to adjust to a different strike zone, style of play and the off-the-field challenges of living in a foreign country.
The season before Sasaki signed with the Dodgers, his future teammate Yoshinobu Yamamoto and the Cubs’ Shota Imanaga set the bar high with relatively smooth transitions. But they were also coming over at later stages in their careers.
“We’re very mindful that this guy is essentially two years, three years behind Yamamoto,” Roberts said, “as far as on the progression side, the development side.”
Sasaki has shown he can be effective out of the bullpen, but pigeonholing him in a relief role at this stage of his career would be a disservice to him and the organization.
The Dodgers have identified the addition of the two-seamer as a development that could help Sasaki stick as a major-league starter.
“It’s our job as coaches to get a player to understand the value of having a ball bear in and get in on right-hand hitters to keep them off the outside part of the plate,” Roberts said. “There’s a little bit of trying to pronate too much — trying to make the ball move, versus trusting his grip and his throw. But that’s a coach’s responsibility to [figure out,] how do we get him there, along with him feeling comfortable.”
The Dodgers have decided that, at least for now, the best setting for that growth is the major leagues. Across the industry, there’s an understanding that the gap between Triple-A and the big leagues is bigger than ever. That makes evaluating players in Triple-A all the more difficult.
“He’s not close to a finished product,” Roberts said. “But he’s 24. … You could look at a team that would potentially sign a veteran, turnkey starter, but we’ve got to get him to cut his teeth and deal with some things. That’s part of the growth.”
Like the mythical city of Brigadoon, Lisa Kudrow’s “The Comeback” has returned to television after many years away, with the difference that time has not stood still for its inhabitants, older in a changing world that values them less and which they navigate with less assurance.
Kudrow, who created and writes the series with Michael Patrick King, was in her youth a player in the twilight of network-dominated television, cast in a smart, influential show with wide, multigenerational appeal; in a quantitative sense, at least, everything would be downhill from there, as the medium transformed and transformed again. “The Comeback” premiered in 2005, just a year after the end of “Friends”; the first season addressed the rise of reality TV, and the next season, in 2014, riffed on dark, streaming “prestige” television.
The new (and final) season, which is both timely and speculative, addresses the impact of artificial intelligence on the medium and the industry, hinting at a dystopian future; this gives it a moral, even political component, not to say a sense of urgency. Not surprisingly, “The Comeback,” as a thing made by humans, comes down firmly on their side — it’s a manifesto at times — even as it acknowledges, uncomfortably, that computer-produced content might be “good enough.”
Once again, Kudrow plays Valerie Cherish, who, at 60 — the phrase “of a certain age” repeats throughout the series — still qualifies as a working actor. But she’s been pushed into the further reaches of the profession: Her two-season cozy mystery series, “Mrs. Hatt” (“part-time gardener, solves crime, husband is an ex-police chief”), is on no one’s radar but her own, having shown on Epix. A day’s work on a “no-budget” film is even less rewarding than she had imagined; she lasted all of two episodes on “The Traitors.” Paddling hard to stay current, to improve her brand, she bumbles through a podcast, “Cherish the Time,” without any idea what to do with that time; employs a social media person, Patience (Ella Stiller), with no discernible impact; and posts pictures of herself holding products in hopes of “future collabs.”
Still, she is not poor. Valerie and husband Mark (Damian Young), have moved from Brentwood to a condominium with a view in the (real life) Sierra Towers, overlooking the Sunset Strip, opening the latest “new chapter” in their lives, though just what that chapter for them is hard to say. Mark has lost his job in finance — “You told a joke at work at a time when jokes were illegal,” Valerie says, trying to cheer him, “no one cares now” — but left on a golden parachute; now he builds his day around pickleball. A potential role in a reality show, “Finance Dudes,” isn’t working out to anyone’s satisfaction. He’s on the verge of a three-quarter-life crisis.
When her self-promoting manager/publicist Billy (Dan Bucatinsky) comes to her waving an offer for a new series, for a new network, in which she’ll star, Valerie is more than intrigued, if taken aback when he tells her that it’s being written by AI. (He isn’t supposed to know.) Network head Brandon (Andrew Scott, as blandly discomfiting as his Moriarty on “Sherlock”) assures her that it is “within the Writers Guild agreement,” but that it is also a secret — which will account for a lot of comedy going forward, secrets and lies being the very stuff of the form. “AI is really extraordinary,” he tells Valerie. “After all, it picked you.”
It’s also created a wholly generic multicamera sitcom, “How’s That?,” in which Valerie’s character, Beth, as she describes it, “runs a cute, charming old New England B&B with the help of her hunk nephew, Bo — so Beth and Bo, B&B.” (“Viewers want a break from the complicated confusing storylines of all these dark streaming shows,” says a network exec.) Her eager supporting cast has no idea that the series is being written by anything other than its human faces, unhappily married couple Josh (John Early) and Mary (Abbi Jacobson). Josh, who thinks of himself as “the voice of women of a certain age,” is precious about the jokes he manages to get into the script; Mary couldn’t care less. Untalented writing assistant Marco (Tony Macht) only wants “to get, like, a really nice house.” The AI, meanwhile, is personified to the cast and crew, who know nothing about it, as someone named “Al,” who “works remotely.”
One by one, the old company is introduced into the new season, Valerie finds Jane (Laura Silverman), her former documentarian, working as a cashier at Trader Joe’s, having tired of scuffling as a filmmaker, “begging people to care about the things that I cared about.” When Valerie lets it slip that her new series is AI-generated — “but don’t tell anyone ‘cause that’s a secret” — Jane is inspired to pick up her camera again. Lance Barber will eventually rejoin as screenwriter Paulie G., Valerie’s old nemesis. Robert Michael Morris, who played Mickey, Valerie’s hairdresser and best friend, in earlier seasons, passed away in 2017; Jack O’Brien, as Tommy, occupies a version of that space here.
Valerie may be only moderately successful, but she isn’t a hack. She has an Emmy for “Seeing Red,” the drama at the center of Season 2. She pushes back against the costumer (Benito Skinner) who wants to put her in a caftan. She knows her craft and is nominally proud of belonging to a union. She’s not a diva, but she has her pride. And that she is loyal, even when it does her no good, makes her easy to like. Thrust half-wittingly onto this cutting edge — being the first in an AI comedy, Mark tells her, “is like saying, ‘I was the first one to eat an arm in the Donner Party’” — she is wholly sympathetic, and, eventually, as things bend toward horror in a last-act revelation, a hero.
Though the subject is serious, the approach this time is light and farcical. Partially abandoning the documentary aesthetic of its predecessors — the first season had the look of amateur video, and the second of guerrilla filmmaking — much of this season is shot as a conventional, non-meta television show, allowing us access to private conversations and meetings without having to account for Jane and her crew, or requiring the players to act as if they’re being watched. Paradoxically, without pretending to reality, it makes some things more real.
Playing himself, director James Burrows, whom Valerie convinces to helm her pilot, notes that the jokes AI writes might come fast but are never better than obvious. “Surprising only comes from a group of writers huddled in a corner beating themselves up to beat out a better show,” he says. And just as Valerie is not a character an algorithm could produce, Kudrow is not an actor a machine could ever imagine. She’s no Tilly Norwood, or Tilly Norwood at 60, or Tilly Norwood with quirks applied. There’s no one like her— other than her — for the learning machines to scrape.
You should never settle for “good enough” when better, or best, is available. But that choice is on you.
Lakers star LeBron James played in his 1,612th NBA regular-season game against the Orlando Magic on Saturday, surpassing Robert Parish’s mark of 1,611 games.
ORLANDO — Appearing in his 1,612th NBA regular-season game Saturday, LeBron James claimed the league’s all-time record for games played, passing Hall of Famer Robert Parish.
The 41-year-old James started for the Lakers against the Orlando Magic on Thursday with the Lakers currently on a season-best eight-game winning streak. James is averaging 21.3 points and 6.9 assists per game this season.
With the Lakers (45-25) surging up the Western Conference standings to third place during this winning streak, James has averaged 20.4 points, 7.6 rebounds and 5.8 assists on 64.6% shooting from the field during the last five games.
Already playing his record 23rd NBA season, the NBA’s all-time leading scorer has also moved up to first in all-time field goals made, passing Kareem Abdul-Jabbar this month.
“He’s got to be insane,” Lakers guard Austin Reaves said when James tied Parish’s record Thursday against the Miami Heat. “Can’t be normal. Things going on in his brain to do it so well at such a high level, there’s nothing left to prove, but he finds something to continue to motivate him.
“It’s a beautiful thing, and it’s a beautiful thing to have him as one of the leaders of this team, because if there’s anybody in the world that could take games off, mentally not be there in a film session, practice, whatever it might be, it couldn’t be him, and that’s not how he’s wired.”
Phoenix — A sparse crowd braved the heat, which was approaching 100 degrees when Dodgers right-hander Shohei Ohtani walked off the mound at Camelback Ranch. But those who did were treated to a dominant pitching performance from the four-time MVP in his first start of spring training.
They repaid the favor with a standing ovation.
Ohtani limited the San Francisco Giants to one hit and overshot the innings goal manager Dave Roberts laid out Wednesday morning by pitching to one batter in the fifth inning. Ohtani didn’t give up a run in those 4 ⅓ innings, and the only other blemishes on the performance were a pair of walks and a hit batter.
“I was pretty happy with the pitch count today,” Ohtani said through interpreter Will Ireton. “In terms of the next outing, I do want to be better at executing in two-strike counts. I just didn’t finish off hitters as much as I wanted to.”
Ohtani is scheduled to make a start in the Freeway Series against the Angels before his first start of the season. If the rest of spring training goes smoothly, Roberts said he expects Ohtani to be ready to throw about five innings in his first regular-season start.
At that length, the Dodgers won’t need to designate long relievers to piggyback Ohtani’s starts. But Roberts stressed the importance of still carrying relievers who can throw multiple innings as the starters continue to build up early in the season.
“Once the season starts you’ve got to see how he’s feeling, how his stuff looks, how he’s throwing the baseball,” Roberts said after the Dodgers’ 5-1 win that was stopped after the eighth inning due to the heat.
Most of Ohtani’s build-up has taken place outside of competition, as he balanced playing in the World Baseball Classic for Team Japan as a position player, and addressing pitching on the side. By last week, he’d ramped up to a four-inning live batting practice session against his teammates on the national team in Miami.
“It actually didn’t feel like it was my first spring training outing,” Ohtani said. “I do see this as more of an extension of a live BP situation. So it didn’t feel too bad going into this game.”
Ohtani didn’t hit on Wednesday. With the heat and his unique spring, the team wanted to let him focus on pitching. He’s expected to be the designated hitter in Cactus League play Friday.
“In terms of the hitting, it did help that I played in an atmosphere that was pretty intense and competitive,” Ohtani said. “So the fact that I had to get things going earlier in the offseason maybe was the only thing that really affected my preparation. But I think it helped me more so than it hurt me, as I played through these meaningful games in the World Baseball Classic.”
Ohtani used a wide range of his arsenal Friday, landing an especially effective curveball for a called third strike against Heliot Ramos in the fourth inning.
“Never really surprised with him,” catcher Dalton Rushing said. “Everyone knows what he’s capable of. Everyone knows his main goal when he goes out there. He expects perfection every single time. And I think he was very, very close to it today.”
“I had a neck lift last week because I’m tired of looking like a melting candle,” McLendon-Covey wrote in an Instagram post Sunday. “So I had to skip the Academy Awards. No drama. Everything is fine.”
The caption — complete with a winking emoji blowing a kiss — accompanied a photo of the “St. Denis Medical” star wearing a bandage around her face and neck.
McLendon-Covey indicated she had received some messaging asking why she did not take part in the reunion, which saw her “Bridesmaids” co-stars Kristen Wiig, Melissa McCarthy, Rose Byrne, Maya Rudolph and Ellie Kemper share the Oscars stage to present the Academy Awards for original score and sound.
Directed by Paul Feig, the 2011 comedy followed the misadventures of a group of bridesmaids led by the maid of honor, Annie, played by Wiig (who also co-wrote the film). McLendon-Covey portrayed the bride’s (Rudolph) cousin, Rita.
“Bridesmaids” stars Melissa McCarthy, left, Rose Byrne, Kristen Wiig, Maya Rudolph and Ellie Kemper reunited on stage at the 98th Academy Awards.
(Robert Gauthier / Los Angeles Times)
“I cannot believe it’s been 15 years,” Wiig said when the cast took the stage Sunday. “Now, we are not good with numbers, but we figured out backstage that means we shot this movie in 1883.”
The cast then proceeded with a bit that involved each of them reading notes supposedly written by their fellow actors in the audience, with the name-dropped A-listers playing along.
“First of all, you ladies look extremely beautiful tonight,” said Rudolph, reading the first note. “You’re all aging well.”
McCarthy later followed up with another letter commenting on the “Bridesmaid” cast’s looks.
“I also agree you ladies look radiant,” McCarthy read. “All the things you’ve done to your faces are very tasteful. Yours truly, Elle Fanning. … Just kidding, it’s me again, Stellan Skarsgård.”
Wiig and Kemper rounded things out by reading notes addressing the length of their bit and the length of the show, respectively.
Ohtani began the World Baseball Classic in Tokyo for Team Japan with a double on the first pitch he saw and then, one inning later, a grand slam … of course he did.
It continued with an espresso shot …
The hitters of lovable Team Italy celebrated home runs with shots of Italian espresso in a dugout dripping with cheek kisses and caffeine.
After hitting three homers against Mexico, Italy’s Vinnie Pasquantino told Fox that he was, “beaned up.”
Truly, this blip of a tournament has been beaned up, a glorious 10 days of deafening cheers and eye-blacked tears, fans dressed like discount popes and bald eagles, TV ratings through the roof, baseball at its October best … in the middle of spring training?
Italy’s Jac Caglianone takes a shot of espresso as he celebrates with teammate Vinnie Pasquantino after hitting a solo home run against the U.S. during the World Baseball Classic on Tuesday in Houston.
(Kenneth Richmond / Getty Images)
What a thing! What a treat!
All hail the WBC, 20 years old and all grown up, its sixth incarnation stealing the stage in a sweet spot during NBA doldrums and before March Madness.
Have you watched any of it? Have you been energized by all of it? It’s been like two weeks of All-Star games, only the players are serious. It’s been like when baseball was part of the Olympics, only the players are all truly the best in the world.
In the middle of the most boring part of the Cactus and Grapefruit Leagues, it’s like a Superhero League. Two weeks before opening day, it’s like the final week of a pennant race.
It’s competitive, and it’s crazy, and Friday’s quarterfinals were filled with both.
There was giant Vladimir Guerrero Jr. going airborne to score a run for the Dominican Republic against Korea, and then leaping up and pumping his fist as if he had just won the World Series.
There was Juan Soto flying home to score an inning later, his head-first dive celebrated by Soto doing a swim move in the dugout.
Then there was Team USA’s David Bednar, screaming along with the chanting crowd as he worked out of a seventh-inning jam in a win over Canada.
In a tournament filled with equal parts emotion and edginess, Team USA now plays the Dominican Republic Sunday in Miami in a semifinal that could be the most-watched game of this season before the season starts.
Paul Skenes versus a lineup so deep Julio Rodriguez bats seventh? A team led by Aaron Judge and Bryce Harper versus a team featuring Manny Machado and Fernando Tatis Jr?
Dominican Republic’s Vladimir Guerrero Jr. dives past South Korea catcher Park Dong-won to score on a double by Junior Caminero during the World Baseball Classic on Friday in Miami.
(Lynne Sladky / Associated Press)
“I expect it to be one of the best games of all time,” said Team USA Manager Mark DeRosa.
No, the WBC isn’t as big as the World Series. One notable player said it’s even bigger.
“The Classic kind of feels above the World Series,” Kiké Hernández told reporters earlier this spring. “Maybe it’s because of what we have on the chest,”
Hernández, who didn’t play for his home country Puerto Rico because he is recovering from elbow surgery, nonetheless showed up in San Juan for the pool-play games.
He was so excited when Puerto Rico beat Panama on a walk-off home run, he texted Dodgers baseball president Andrew Friedman and asked if he could accompany the team to Houston for the knockout round. Friedman of course said yes.
Yes, yes, yes, more, more, more.
Before this spring, I had watched exactly one WBC at-bat. The entire deal felt cheesy and contrived. American players didn’t appear to care. American players would rather lounge through the final days of spring training in occasional games and on countless golf courses
Other countries loved it. Other countries caused a ruckus. The fan experience was highlighted by a memorable and deafening 2009 final at Dodger Stadium featured a Japan victory over South Korea in a game that many observers said was the loudest they ever attended.
Not me. Didn’t care. I pretty much ignored the whole thing until stumbling upon that one at-bat, the final out in the 2023 title game, that stunning dramatic strikeout of Mike Trout by then-Angel teammate Ohtani to give Japan the title.
Ohtani threw his cap and glove in a rare show of emotion, setting off a wild and sincere celebration as my ignorant self finally realized, “Hey, this is a thing.”
Three years later, the American players have agreed, stacking the roster with stars like Judge and Harper, kids like Pete Crow-Armstrong, vets like Kyle Schwarber and Big Dumpers named Cal Raleigh, all transforming this occasional baseball oddity into must-see TV.
You know how one can tell it’s real American baseball? The team spent its first week mired in social media drama and a second-guessing controversy.
American right fielder Aaron Judge celebrates his team’s win over Canada during a World Baseball Classic quarterfinal game on Friday in Houston.
(David J. Phillip / Associated Press)
Tarik Skubal, the game’s best pitcher, found himself defending his patriotism after leaving the tournament early to better prepare for his opening day start with the Detroit Tigers.
First, he admitted he was surprised at how bad he felt about abandoning Team USA. That seemed to be a theme in a clubhouse that has been stunned at how much this matters.
“I totally misread how I would feel,” he said.
Then, he seemed genuinely hurt that people think he is turning his back on the flag.
“It’s just not fair,” he told the Athletic, later adding, “If they know me, though, and they know me on a personal level and they know what my peers think of me, I don’t think it’s fair to say those things.”
Also finding himself in hot water was USA manager Mark DeRosa, who nearly allowed his team to be eliminated in pool play because he didn’t know the rules.
When Team USA played Italy on Tuesday night, DeRosa rested most of his starters, nearly used retired Clayton Kershaw and basically managed the game as if he thought they didn’t need to win to guarantee advancement to the next round.
Guess what? They needed to win. But they didn’t win, losing 8-6 in a shocking upset. So they were forced to sweat out the Italy-Mexico game on Wednesday, where another Italian upset allowed them to back into the quarterfinals.
DeRosa claimed he knew the rules all along, which he clearly did not.
Before the game against Italy, in an interview on the MLB Network, he said, “Our ticket’s punched to the quarterfinals.”
After the game, DeRosa claimed he just, “misspoke”
And then Thursday he told the media, “I was well aware that we had to win the game.”
The 16-year journeyman clearly messed up, and then tried to cover up, and here’s guessing even if Team USA wins this tournament, he won’t be managing them in the 2028 Olympics or in any future WBC events.
Meanwhile, one American player had a dissenting view about the status of this tournament, Harper offering a tired argument.
“Obviously, the WBC has been great, but it’s not the Olympics, right?” he told reporters. “That’s no disrespect to the WBC or anything, but everybody knows that when the Olympics are on, everybody’s watching. It doesn’t matter what sport it is; it could be the most random sport, and it’s got all the fans watching it.”
Wrong. Here’s guessing more fans will be watching Sunday night in a matchup for the ages. Then, imagine if Team USA wins and plays Japan on Tuesday night for the championship?
With the sport headed toward a seemingly inevitable work stoppage this winter, this could be the sweet beginnings of a long farewell. Soak it in. Enjoy the buzz. Get all beaned up. March madness indeed.
The 10th season of “Love Is Blind” ventured to Ohio, yielded a record seven engaged couples and made structured cape blazers and the idea of daily Pilates classes feel like rage bait.
With the season over, and just two couples saying “I do,” the cast of the popular Netflix dating series came together for this week’s reunion special to share updates on their lives since the cameras went down — and to unpack the twists, turns and lies that played out over the season. The result was a reunion that finally provided (mostly) satisfying questions and answers about participants’ pasts and presents instead of dancing around topics.
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Unable to budget the time for a trip to Cabo — or even Malibu — to process it all, TV editor Maira Garcia and I have brought our running “LIB” thread out of our Slack DMs to unpack our thoughts in this safe place.
Also in this week’s Screen Gab, our streaming recommendations include a spray-tan crime comedy and a Morgan Freeman-narrated mind trip about the rise and fall of dinosaurs. Plus, we tell you where you can stream the slate of best picture nominees ahead of this Sunday’s Academy Awards ceremony.
This is your cue to block off some “couch time” in your calendar this weekend.
— Yvonne Villarreal
Turn on
Recommendations from the film and TV experts at The Times
Will Forte as Martin and D’Arcy Carden as Vicki in a scene from “Sunny Nights.”
(Lisa Tomasetti / Hulu)
“Sunny Nights” (Hulu)
D’Arcy Carden fans, and I can’t imagine anyone who’s ever seen her work isn’t one, will be elated to find her at full force starring in this dark, sometimes violent Australian crime comedy alongside Will Forte, who, yes, has fans of his own. They play brother Martin (cautious) and sister Vicki (impulsive), who have traveled to Sydney to flog a tanning spray at a lifestyle convention, though Martin has an ulterior motive, to win back his wife, Joyce (Ra Chapman). What with one thing and another, they find themselves repeatedly in need of cash and mixed up with a panoply of criminals, some fairly sympathetic (former rugby star Willie Mason, excellent as former rugby star Terry; Jessica De Gouw as Susi), and others not at all (Rachel House as kingpin Mony, just out of the jug). All are trying to change their lives, or at least their business plan, including Joyce, a journalist stuck writing clickbait articles for an editor who doesn’t want to know, and Megan Wilding as Nova, an animal control worker who knows something important about an exploding crocodile. — Robert Lloyd
A still from “The Dinosaurs.”
(Netflix)
“The Dinosaurs” (Netflix)
This four-part series will have you mentioning the Carnian pluvial episode in every conversation. Aptly narrated by Morgan Freeman and executive produced by Steven Spielberg, the sweeping CGI-enhanced nature documentary traces the evolutionary history of dinosaurs, from their origins in the Triassic period to their extinction 66 million years ago. And it’s more proof that attention spans, no matter a person’s age, will always lock in for dinosaurs. Before morning, your Google search history will include terms like “Marasuchus,” “Vulcanodon,” “Heterodontosaurus” and that Carnian pluvial episode (a.k.a. the longest downpour in history, which lasted more than a million years). Prepare to have your perception of time forever altered. Still, it’s a surefire way to give your mental health a break from current events — though, for a certain generation, it may also unlock those “Land Before Time” memories. — Y.V.
Catch up
Everything you need to know about the film or TV series everyone’s talking about
Scenes from “One Battle After Another,” left, “Hamnet” and “Sinners.”
(Warner Bros. Pictures; Focus Features)
The 98th Academy Awards will broadcast Sunday at 4 p.m. Pacific. How many of the best picture nominees have you seen? Is it less than the number of think pieces you’ve read on Timothée Chalamet’s comments on ballet and opera? We’re here to help. If you’re feeling inspired to be a studious viewer ahead of film’s big night, here’s where you can stream the best picture nominees:
“Bugonia” (Peacock): Directed by Yorgos Lanthimos, the surreal comedy thriller follows a paranoid bee keeper (Jesse Plemons) who kidnaps a pharmaceutical CEO (Emma Stone), convinced she is an alien responsible for destroying humanity. The film received four Oscar nominations.
“F1” (Apple TV): From “Top Gun: Maverick” director Joseph Kosinski, the sports drama stars Brad Pitt as retired F1 driver Sonny Hayes, who agrees to compete in the globe’s most prestigious racing event to salvage his reputation and the failing team of his buddy. The film received four Oscar nominations.
“Frankenstein” (Netflix): Guillermo del Toro’s adaptation of the classic horror tale transforms Jacob Elordi into the tragic monster, known here as The Creature, and features Oscar Isaac as its titular mad maker. The film received nine Oscar nominations.
“Hamnet” (Peacock): Based on Maggie O’Farrell’s novel, Chloé Zhao’s historical drama explores the grief, love and strained marriage of William Shakespeare (Paul Mescal) and his wife, Agnes (Jessie Buckley). The film received eight Oscar nominations.
“Marty Supreme” (Available to rent or buy on platforms like Prime Video and Apple TV): Directed and co-written by Josh Safdie, the film is loosely based on the life of American table tennis player Marty Reisman, here called Marty Mauser and played by Timothée Chalamet. It is expected to be released on HBO Max later this spring. The film received nine Oscar nominations.
“One Battle After Another” (HBO Max): Paul Thomas Anderson’s satirical political thriller, a loose adaptation of Thomas Pynchon’s “Vineland,” follows a paranoid ex-revolutionary (Leonardo DiCaprio) trying to save his daughter when an old enemy (Sean Penn) resurfaces. The film received 13 Oscar nominations.
“Sentimental Value” (Available to rent or buy on platforms like Prime Video and Apple TV): Joachim Trier’s Norwegian drama follows two sisters (played by Renate Reinsve and Inga Ibsdotter Lilleaas) as they reunite with their estranged filmmaker father (Stellan Skarsgard). The film received nine Oscar nominations. It is expected to be released on Hulu later this month.
“Sinners” (HBO Max): Ryan Coogler’s gothic horror drama is set in 1932 Mississippi and follows twin brothers (played by Michael B. Jordan) who, trying to leave their troubled past behind them, return to their hometown to start anew — only to face new horrors. It became the most-nominated film in Academy Awards history with 16 total nominations.
“The Secret Agent” (Hulu, Disney+): Directed by Kleber Mendonça Filho, the Brazilian historical political thriller stars Wagner Moura as a former professor fleeing persecution during the 1970s military dictatorship while trying to protect his son. The film received four Oscar nominations.
“Train Dreams” (Netflix): Based on Denis Johnson’s 2011 novella of the same name, the film is an intimate birth-to-death portrait of a quiet railway laborer (Joel Edgerton) as he watches the world change around him. The film received four Oscar nominations.
Break down
Times staffers chew on the pop culture of the moment — love it, hate it or somewhere in between
It’s crazy to think that about six years ago, golden goblets, pods and “the experiment” were disparate ideas and objects that were on the precipice of infiltrating the culture. Now, you can’t think of one without the others. “Love Is Blind,” the reality dating show that tests the premise of whether singles can find love sight unseen and marry at the end, marked a milestone this year with its 10th season, filmed in Ohio.
While the series has produced a number of marriages and engagements, some have ended in breakups and divorce, as we saw on Wednesday’s Season 10 reunion. So while the answer to the question “Is love blind?” seems to be no, the series has nonetheless made for entertaining television for viewers who have made dissecting the people, fights and makeups a sport. Why are we so invested? Because it’s a reflection of where we are as a society when it comes to relationships and what we expect from partners emotionally, politically, physically and financially. With that in mind, Yvonne and I sat down with our golden goblets to unpack the Season 10 reunion. Here are five moments that stood out. — M.G.
Jordan and Amber are now divorced
Jordan Faeth and Amber Morrison were one of two couples to say “I do” at the altar. Morrison, a single mom, discussed with Faeth over the course of the show if he was ready to be a stepparent and where they would live, given that Morrison owned a home and her daughter was happy at her school. At the reunion, the couple revealed that they never moved in together and that they divorced after four months. Morrison talked about how her daughter was distraught after the breakup, leading to an emotional moment where Morrison ran offstage in tears. It raised an important question that fans have debated closely: Should parents be on the show? Seasons 6 and 9 also featured single parents, neither of whom made it to the altar. Given the compressed timeline of when people meet, become engaged and head to the altar, deciding whether marriage should include parenthood at the start adds another layer of complexity, not to mention how it could affect a child, who suddenly has a stranger in their life. The outcome wasn’t necessarily surprising, but it was sad.
Vic and Christine: boring but perfect. More, please
The other couple to make it down the aisle was Vic St. John and Christine Hamilton, who hit it off from the get-go and seemed to exist in their own blissful bubble. According to Netflix production, the show only budgets for six couples to go on a trip after the reveal and engagement. But they continued to track them, with St. John and Hamilton spending time in Malibu instead, taping dispatches together and getting to know each other without the rest of the cast in proximity. Throughout the course of the show, you see their connection grow. Their mature and thoughtful conversations about being an interracial couple and potentially raising biracial children were exactly the type of discussions you would hope they’d have before proceeding down the aisle. It may not make for dramatic TV, but it was genuinely thrilling to see a couple so well-suited for each other continuing to thrive. And in an effort to make up for not getting to go to Cabo, Mexico, with everyone else, the show offered them a trip paid by … Turbo Tax? It was an odd product placement, but if they want to foot the bill for their honeymoon, no one’s complaining. As long as it’s somewhere tropical on a beach — and not Lake Erie.
Who took accountability?
Despite not making it to the altar on screen after the blazer cape breakup, Connor Spies and Bri McNees are still together. But the bigger record-scratch moment arrived later, when it was revealed that Devonta Anderson broke up with Brittany Wicker a few days after what he told her was a work trip but was actually a getaway to Austin, Texas, to attend a concert with McNees, Ashley Carpenter and Priyanka Grandhi. Wicker didn’t seem thrilled that she had to find out about the trip from Amber (who found out from Jordan, who can’t remember that he even knew about it). McNees didn’t like the implication that she may have broken “girl code” with the whole fiasco — but if all the women are as close as they say they are, why wouldn’t you check in about such an arrangement regardless of the relationship status? (It was weird, too, that Connor thought it was a girls’ trip.) And the fact that it was the same three women who listened to Chris Fusco talk poorly about his former fiancée Jess Barrett — giant sigh. During the reunion, after Barrett voiced her disappointment in her friends about that incident, Carpenter apologized for not doing more to defend her in the moment.
Meanwhile, Nick unleashed his best attempt to channel Andy Cohen and grilled Fusco about his highly questionable behavior and the backlash over his comments to Barrett about her body, specifically stating he usually dates women who do Pilates or workout daily, and for trying to make the moves on McNees. Fusco, mostly quiet and stone-faced (could it be the shame?), acknowledged he was not proud of the moments he watched back and apologized to Barrett. His seat mate, goalkeeper Alex Henderson, was also on the defense. The self-proclaimed nomad never fully seem to vibe with his fiancée, Carpenter. He admitted she’s not his usual type. She still maintained he wasn’t telling the whole truth about his job or dating history, and overall lifestyle. Throughout his segment, Henderson was noticeably irritated by the insinuation that his stories didn’t add up. But he did seem to enjoy being asked to describe his relationship with Carpenter as if it was a soccer match, prompting him to cite a Liverpool game that ended in a tie. Are you laughing too?
Can this be a TikTok?
To commemorate the milestone season, the audience for the reunion special consisted of 150 former participants of the series. And while the time spent getting life updates with some of them throughout the show felt less forced and time-consuming than reunions past, it still felt like an add-on better suited to live in a separate (shorter) special or as social media content. If we wanted an update on these people’s lives, we can find them on social media. A gender reveal courtesy of someone’s dead grandmother, as sweet and touching and lovely as that may for an expectant couple, is not the sort of jaw-dropping moment a show like this needs. And maybe the money saved — assuming production footed the bill for those flights — could have sent every couple to Cabo.
Did you hear? Nick Lachey is from Ohio, guys.
His constant mention of his hometown roots was unquestionably the biggest declaration of love in the 90-minute special. Sorry, Vanessa.
Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.
AI will not be replacing you any time soon.
On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”
Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.
It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.
For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.
SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”
Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”
Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.
In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”
A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”
Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.
The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.
Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.
And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.
Though Charlie did have the advantage of being able to be seen live and in person.
Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”
People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.
Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.
You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.
There’s a hidden door in Downtown Disney. Only this one isn’t meant to be walked through.
Flanking a stage near the monorail station, you’ll find a glistening white tower, the work of artist and activist Nikkolas Smith, who has adopted the term “artivist.” At first glance, the tower — one of Downtown Disney’s most striking works — appears to be a nod to Disneyland’s Midcentury art, for its curved lines and space-age optimism wouldn’t be out of place in Tomorrowland.
That’s there, says Smith, but there are also a number of more subtle inspirations.
The tower is a nod to five Black architects, trailblazers whose creations sometimes went unnoticed or overlooked. And that’s why at the base of the structure is a looping opening meant to signify a half-open doorway.
Downtown Disney’s Legacy Tower touches on the styles of different Black architects as it rises into the sky.
(Gary Coronado / For The Times)
Smith shares a distressing anecdote. “They had to learn how to read drawings upside down, because they weren’t allowed to sit next to the white clients,” Smith says, adding they also had to endure unequal pay. “So I was incorporating things like the half doorway to symbolize their struggle.”
Officially designated as the Legacy Tower, Smith himself fixates on that word — “legacy.” The term, he says, represents a thematic constant across his work. A regular collaborator on a number of Walt Disney Co. projects and a former architect with Walt Disney Imagineering, the division of the company focused on theme park experiences, Smith is something of a connector. His canvas art, full of fast-moving brush work, is often rooted in the past while urgently seeking to draw links to the present.
Artist Nikkolas Smith went viral for his portrait of Martin Luther King Jr. in a hoodie, a tribute to slain teenager Trayvon Martin.
(Nikkolas Smith)
His 2025 children’s book, “The History of We,” tells the story of how humanity can trace its roots to Africa. And one of his best-known pieces is of Martin Luther King Jr. in a hoodie, meant to evoke the image of Trayvon Martin, the slain 17-year-old whose death inspired a social justice movement. The work went viral in 2013 while Smith was still working for Imagineering. It altered his career trajectory.
“It was like, ‘I cannot just make art about churros and rides right now,’” Smith says. “There’s a time for that, and there’s also a time to talk about this.” He references his portraits related to the killings of Black men, many at the hands of police officers, such as Philando Castile and Michael Brown.
“At the end of the day, Disney understood that,” Smith adds. “They understood that I needed to make art that was extremely important at the moment, about justice or the lack of justice.”
Smith left Disney in 2019 after 11 years but has maintained a close relationship with the company, so much so that Imagineering called upon Smith to design the tower, which opened in 2023.
Artist Nikkolas Smith, left, chats with guests Ricky Yost and Martina Yost of Aubrey, Texas, who recognized Smith from a recent Disney cruise excursion.
(Gary Coronado / For The Times)
As the Legacy Tower spirals toward the sky, its patterns and and lattice work nod to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams. All were active in Los Angeles — Williams, for instance, was a pivotal designer on the LAX Theme Building — and Smith interlaces decorative flourishes in varying styles that twist around one another to work up the Legacy Tower’s pointed spheres.
The door of the Legacy Tower symbolizes perseverance, Smith says. “They made it through, despite all of the obstacles they had to go through.”
Smith had studied the architects while a student at Hampton University, and has documented on his Instagram their various stylings, which range from restrained to whimsical to ornate. A section referencing Vaughn is modern minimalism, whereas an area dedicated to Sealey is full of jagged, pointed linework. All of it is held together via a coiling design that feels full of movement.
The patterns of the Legacy Tower are nods to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams.
(Gary Coronado / For The Times)
“How can I show humanity’s interconnected future? That’s the idea,” Smith says. “There’s this African theme of Sankofa. If we look toward our future, we have to look at the past and value and appreciate the past. I thought it would be great if I could really commemorate some Black designers and architects as the foundation and backstory of the tower. And I was also thinking about these breezeway block patterns that you see in Leimert Park.”
And yet it also feels like something that belongs in the park. Smith says he looked at some Tomorrowland designs.
“A Midcentury Modern vibe was Walt,” Smith says, referring to park patriarch Walt Disney. “That was Walt’s thing. It all connects. I love that people can hopefully now connect both things. You can connect Tomorrowland and Walt with Paul Revere Williams.”
It’s clearly Smith’s favorite design of his for Disney, although it’s not the only space at the resort that features his artistry. During his decade-plus with Imagineering he regularly worked on teams that focused on projects at Disney California Adventure, which this year is celebrating its 25th anniversary. He was heavily involved, he says, in the evolution of Avengers Campus, contributed to a small promenade stage in Pixar Pier and helped envision the facade of Guardians of the Galaxy — Mission: Breakout!, which transformed the former Tower of Terror into a sci-fi structure.
Nikkolas Smith says elements of Downtown Disney’s Legacy Tower symbolize perseverance.
(Gary Coronado / For The Times)
Smith looks back fondly at his years at Imagineering, specifically calling out his time on the Guardians project. The former fake hotel is now full of glistening bronze pipes, a retro futurist look that former Imagineer Joe Rohde, who led the design, has said takes influence from the high-tech aesthetic of architect Renzo Piano, who worked on France’s Pompidou Centre.
“How much can we add to it? How much can we get away with gluing onto this thing?” Smith says of the Guardians facade. “What is the right amount of ‘Guardians of the Galaxy,’ without being too much? Without scaring people on the freeway?”
Today, Smith continues to focus on social justice work, and has also collaborated with filmmaker Ryan Coogler, such as completing concept designs for his Oscar-nominated film “Sinners.” Smith’s 2023 children’s book “The Artivist” documents the importance of creating art that’s in conversation with the world, believing it’s not only a source for education but for empathy. Smith’s weekly paintings speak out often against the current administration, and Smith has been particularly vocal on the ICE raids.
A selection from “The Artivist,” an illustrated book from Nikkolas Smith.
(Nikkolas Smith)
“Some people say that all art is activism, but I feel that some of the best art that is created is art that has a message,” Smith says. “And hopefully that message has to do with the humanity of all people, and for me, I like to focus on marginalized communities, and how we can value the humanity of everybody. That’s why I make picture books about the origins of humanity and the origins of this country.”
The Leimert Park resident says his wife and young son regularly visit the Disneyland Resort. And when he does, Smith says, he always takes a moment to stop by the Pixar Pier stage that he contributed to, which is often used for character meet and greets.
“They were team projects, and I do go up to them with so much pride,” he says. “I go up to the Pixar Pier promenade stage, and I just go up to it and touch it. … The beautiful thing about Disney is these creations are usually around for a lifetime.”
It turns out you can take the artivist out of Disney, but you can’t fully take the Disney out of the artivist.
