thing

Moments after the final rapid-fire rhythm of Anthrax’s opening number “Caught in a Mosh” fades from the open air of the Sports Illustrated Stadium in Harrison, N.J., shaggy-headed vocalist Joey Belladonna addresses the audience. “I gotta ask everybody out there right now. Who’s never seen Anthrax before?” Around half of the 6,000-or-so crowd members who showed up by 6 p.m. for the three-band bill, headlined by heavy metal legends Iron Maiden, raise their hands. “Ah, yeah! We got a lot of new friends here today. Thank you for being here.”

Some bands with a four-decade career would be disappointed by the turnout, or by the realization that many fans not wearing Maiden shirts are dressed in Megadeth merch. But for Anthrax, preaching to the unconverted is an opportunity to expand their fan base beyond the somewhat insular community of thrash metal, a style of music that took the aggression of bands like Iron Maiden and turbocharged it with the speed and fury of hardcore punk. As much as Anthrax cherish being one of the “Big Four” — Metallica, Megadeth, Slayer and Anthrax — playing a 35-minute set well before dark is a great way to reach new listeners.

“We have a strong base of fans that are deeply into this band, but we know there are also people that have never listened to this type of music before,” says bald-headed, gray-bearded rhythm guitarist and lyricist Scott Ian from his home office outside of L.A. a week before the show. “They’ve heard band names, but maybe they haven’t dipped their toe in the water. So, it would be great to reach them and give them something they didn’t even know they wanted and then they’ll fall in love with it.”

A full 10 years have passed since Anthrax released their last studio album, “For All Kings,” which helps explain why they’re not as well-known as some metal veterans. Instead of rushing out an album after the pandemic, Anthrax took their time writing and fine-tuning new songs before entering Dave Grohl’s Studio 606 in L.A. in 2022. Then, they wrote more songs and massaged those for another two years before finishing the recording and sending the album to be mixed in 2025.

“I nitpicked over every detail of these songs before I even sent the demos to the other guys to put their two cents in,” says drummer and main songwriter Charlie Benante, clad in a black T-shirt and blue jean shorts, and sporting cropped black hair and a slanted mustache. “I wanted them to be as good as they could possibly be. Being good enough wasn’t OK.”

The 11 tracks on “Cursum Perficio” (Latin for “I complete my journey”) encapsulate the finessed brutality, incisive melodies and experimental flourishes from Anthrax’s years with Belladonna (from 1984-1992 and 2005 to the present), during which the band wrote its fastest, most aggressive songs. As much as Anthrax were driven this time by the desire to attract new fans, they were also motivated by many popular new metal albums — and not in a good way.

Anthrax’s meticulously crafted album was recorded at Studio 606, using Iron Maiden support slots to court new listeners beyond the thrash faithful.

(Travis Shinn)

“I hear bands with new records out, and they’re horrible,” Benante says, squinting his eyes and grimacing. “The genre has gotten stagnant to the point where you see a social media post by some band mentioning they have new music coming out, and you can tell exactly how it’s going to sound just by the way they look.”

While “Cursum Perficio” may be a bit heavy for some metal fans, it’s neither dull nor predictable. The album is loaded with Anthrax trademarks — serrated, crunchy riffs, soaring lead vocals, bludgeoning beats, and scorching guitar — but there are also galactic noise effects, angular song structures and atypical chord configurations. The most striking number, “The Edge of Perfection,” starts with chiming ethereal guitars and gently tapped cymbals, then detonates in a conflagration of feral blast beats, minor-key tremolo guitar picking (redolent of black metal), and chanted tribal vocals before climaxing in a slithering riff and ebullient chorus.

“After 30 years as a band, I can honestly say that’s the best song we’ve ever done,” says Ian, the most voluble member. “I feel like it’s genre-defying and can appeal to fans of atmospheric stuff and extreme metal, and anyone who likes aggressive music or even just guitar rock.”

For such a bruising cut, the lyrics of “The Edge of Perfection” are surprisingly optimistic. “It’s about striving for perfection, which, of course, is impossible. But that doesn’t mean you can’t reach for it,” says Ian. “To me, true perfection is happiness and health, and that comes from love, and it isn’t a given. I work hard at being an empathetic person and I only do things out of love and wanting to make everybody around me feel good as well.”

Lest Ian’s Zen-like proclamation color him a romantic, the guitarist stresses that much of the energy and anger of “Cursum Perficio” stems from the political, social and economic turmoil of the last decade. The problems, he stresses, are cutthroat capitalism, rampant partisanship and mankind’s seemingly innate instinct to destroy.

“Humans are really good at one thing and that’s murder, and we’ve excelled at it over the centuries,” Ian says, shattering the good vibes that flowed like a clean mountain spring just a minute ago. “Every year, we get better at treating each other terribly, which I can’t understand. I mean, there are people on this planet who, if they wanted to, could end world hunger. But I guess there’s no money in that. They would rather make the world a s— place by draining the resources. I swear to God, it’s just like [the 1971 Dr. Seuss book] ‘The Lorax.’”

While Ian purposely scrapped any early lyrics he wrote about politics in the age of Trump (“that would have been boring”), on “Everyone’s Got a Plan” he addresses the partisan strategy of “divide and conquer,” and in the first single, “It’s for the Kids,” he writes about the ubiquity of school shootings. Neither song has stopped naysayers from characterizing Anthrax as left-wing.

“I’m not a liberal,” he plainly states. “I’m a centrist. I like skeet shooting and I enjoy going to a range and shooting at targets.  But I believe in common sense. And no matter what your political leanings, I think everybody can agree that nobody wants to see an 8-year-old shot in the face, which happens all too often.”

“I love this country,” interjects Benante. “But that doesn’t mean I don’t have some problems with it…. The way we go about things in this country is just wrong, and it makes me frustrated to the point where I’m like, ‘F— it. I’ll just put my head down and write a song.’”

“Cursum Perficio” delivers classic Anthrax crunch with experimental flourishes, anchored by genre-defying centerpiece “The Edge of Perfection.”

(Travis Shinn)

Much of “Cursum Perficio” caters to neither the left nor the right. “NYC 93” is about the celebratory chaos of band life in the early ’90s, “The Long Goodbye” addresses the horrors of dementia, and the title track is about closure, whether positive or problematic. The Latin translation of the phrase, along with Benante’s past comments that he can’t imagine writing another full Anthrax album anytime soon, have led to speculation that the band is nearing the end of the line; the theory is seemingly supported by lines like, “The journey’s over/ The threads that hold it all together.” But while there are no plans now to write any new songs, and four of the members are in their 60s (lead guitarist Jonathan Donais is the baby at 47), growing too old to headbang isn’t even a notion.

“I truly believe that going out and playing shows keeps us young,” concludes Benante. “We get in a zone, and the music takes over and the energy going through our bodies is the same as it was when we were 20. Why would we ever want to give that up?”

Wiederhorn is the co-author of Scott Ian’s 2014 autobiography, “I’m the Man: The Story of That Guy From Anthrax.”

Amanda Seyfried and Thomas Sadoski are calling it quits.

The former couple, who tied the knot in March 2017, told People that they had been separated for some time.

“We have been separated for a while, and it’s proven to be the right move for us and our family unit. We’ve got each other forever — and it’s GOOD,” Seyfried and Sadoski told the outlet.

On Tuesday, Seyfried shared a piece of prose by poet and author Bianca Sparacino on her Instagram stories that read:

“Maybe in another lifetime.”

“No.

“This is all you get. So please, just fight for the things that crack light into your life, fight for the things that soften you. Protect the people you love, leave them better than you found them. Defend your heart, do whatever it takes to keep it open despite what it has been through. Forgive, not just others, but yourself, as well. Slow down. Taste, and touch, and feel and care. Create the things you want to see in this world, stay as curious as possible. Honour your joy, do not shy away from the good that is trying to reach you, do not convince yourself that you are unworthy of it. Be strong enough to be gentle. Be brave enough to break. Be all that you are. Be all that you are.”

The pair met back in 2015 while starring in “The Way We Get By,” a two-person off-Broadway play that explores love and lust and takes place the morning after a drunken hookup. It was Seyfried’s stage debut. “I feel like the luckiest guy in New York right now, to be honest with you,” Sadoski told Backstage on Broadway at the time. “I mean, I get one of the great American playwrights, one of the great American directors, and a perfect scene partner, I’m a pretty happy guy.”

The two teamed up again the same year to play love interests once more in “The Last Word.”

After spending a good portion of the year pretending to be in love with Seyfried on stage and screen, in October 2015, Sadoski split from his wife of eight years, studio casting executive Kimberly “Becky” Hope. By March 2016, the “Newsroom” actor was romantically linked to the “Mamma Mia!” star.

Seyfried, 40, and Sadoski, 50, tied the knot in a private countryside ceremony in 2017. There were no family or friends on the guest list, just their officiant and Seyfried’s dog, Finn. Shortly after the nuptials, the pair welcomed a baby girl, Nina. In 2020, they had a son, Thomas Jr.

The couple have raised their family on a farm in the Catskill Mountains of upstate New York, a property the “Mean Girls” star bought in 2013, while also maintaining properties in Los Angeles and Manhattan. But last month, Seyfried listed her 2,700-square-foot Los Angeles residence for about $3.2 million.

As the fall equinox approached from a week away, the Primetime Emmy Awards made its 78th visit, leaving trophies in some hands, the honor of just being nominated for others and bupkes for the rest of the thousands who make what we call television. Once again I have been called to witness (from afar) and report, so let’s get down to it.

It was the turn of NBC (and Peacock) in the round robin of major networks who broadcast the show, and to keep things literally in-house it was hosted by Mariska Hargitay, “America’s sweetheart sex cop Olivia Benson” from the network’s “Law & Order: Special Victims Unit” and broadcast from the Peacock Theater, formerly the Microsoft Theater, formerly the Nokia in #DTLA, formerly downtown Los Angeles.

When reviewing the Emmys, or any awards show, as television in its own right, the only real questions are what distinguishes it from its many previous appearances on the karmic wheel of life — how it tricks up the basic, immutable form, like different decorations on the same sugar cookie recipe you have been using forever. Anything unexpectedly or especially moving, rousing, funny or strange, things that go against the grain of a production that wants to keep things controlled in order to bring the ship in on time.

This year the critic has been given the gift of Hargitay, primarily a serious actor (and director and producer), following in a long line of comedians and comic actors. There have been other serious actors as host, for example, Raymond Burr in 1959, Tom Selleck in 1984 and Angela Lansbury in 1993. And certainly, if you’re looking for someone to represent the medium rather than merely to comment on, celebrate or joke about it, you could do no better than Hargitay, the longest-serving actor on the longest-running prime-time live-action series on American TV. She’s beautiful, glamorous, self-possessed. She was recently on Broadway in “Every Brilliant Thing,” which involved a degree of what comedians call “crowd work,” so standing up in front of a live audience of people no more famous than she wasn’t going to throw her. Professional comedian Nate Bargatze, who hosted last year, was much more of a dark horse.

Emmys host Mariska Hargitay with singer Taylor Swift and her cat Olivia Benson on screen during a skit the 78th Primetime Emmy Awards.

(Patrick T. Fallon / AFP via Getty Images)

Although I would have bet on a pre-filmed “Special Victims Unit” routine to open the show, which is why I’m not a gambler, it wasn’t until an hour in that it appeared. (It involved murder-style boards, concerning the Case of Whether Taylor Swift would be making an appearance; she did, in the bit.) The pre-filmed production number that did open the show began with Hargitay and her actual good friend New York Knick Jalen Brunson steaming their clothes when Hargitay suddenly realizes she is due across the country to host the show. This led to Joan Jett’s “I Love Rock ’N Roll” reconceptualized as “I Love TV Screens,” which included the “Widow’s Bay” sea hag revealed to be Jennifer Coolidge, bringing boba tea (rhymes with “TV”); other rhymes matched “eating beef” and “watching ‘Beef’” and “Ed Gein” and “mean.” It moved to the live stage, with Hargitay flanked by dancers with television heads. Both segments felt more effortful than funny, but not unfunny.

On her own, however, Hargitay was above all a woman having a good time, never less than likable and game and enthusiastic, managing the scripted patter as well as anyone might have. Her monologue included several jokes about age, one about “L&O” producer Dick Wolf’s real name (Richard Penis), and another about her inability to pronounce “finale” because she’d never been in one. As is practically an Emmys tradition, some of these were confusing (even to the people performing it), or went on too long (Nick Offerman, cornered at his table, describing his work as an erotic house painter), or just had the effect of having been put on their feet without much, if any, rehearsal. Presenting the final award, for outstanding comedy, Woody Harrelson and Matthew McConaughey, told to stretch — the show was actually running short — described the plot of their upcoming Apple series, “Brothers,” until they were allowed to move on.

As to what the Television Academy calls “creative elements,” everything that isn’t a presentation or a speech, they advertised tributes to the 30th anniversary of “Buffy the Vampire Slayer,” certainly a typo, and the 50th of “Charlie’s Angels,” a logical impossibility, but these were really just themed groupings of presenters — Sarah Michelle Gellar and David Boreanaz in the former, Kate Jackson, Cheryl Ladd and Jaclyn Smith in the latter. (The Angels managed a few words for Farrah Fawcett, but none for Shelley Hack, Tanya Roberts or David Doyle.) But there were full tributes to Dolly Parton (Sally Field enthused, Reba McEntire sang); to James Burrows, with Jamie Lee Curtis pivoting emotionally to talk about old friend Rob Reiner, who won a posthumous guest appearance Emmy this year for “The Bear”; and to Catherine O’Hara, with her “Home Alone” child Macaulay Culkin and “Schitt’s Creek” children Annie Murphy and Dan Levy, who spoke to “helping her build a TV character over the age of 60 that wears leather miniskirts and eight-inch heels and speaks in a strange, sometimes unintelligible transatlantic accent, and know that she will not scare an audience away.”

And there was Julianna Margulies presenting the Bob Hope Humanitarian Award to Michael J. Fox, who, in his usual way, was eloquent and funny, and let the people know about the goodness of Bob Hope, setting up a punchline in the bargain. Like a lot of you, I love Michael J. Fox, and I’m just going to leave that here, with a pile of soaked-through tissues.

John Mulaney stole the show as a presenter at the 78th Emmy Awards ceremony at the Peacock Theater in Los Angeles.

(Robert Gauthier / Los Angeles Times)

But what America will mostly remember from this night was John Mulaney, introducing the award for lead actor in a drama, and burning the house down with a routine that went wherever it wanted. “They can play anything, these nominees. Not just doctors. They can play a cop or an FBI agent or a secret agent. And then that’s it. No other examples.”

“Since the creation of television, men have been historically underrepresented,” Mulaney said, explaining that the medium was all “beauty contests and children talking to hand puppets until the early ’60s. Until a man walked out and said, ‘Enough. My name is Fonzie and the president’s been shot.’” Mulaney is a man who has convulsed crowds in arenas and stadiums, but, as a local, nothing made me laugh harder than the words, “You know, I was shooting down Barham last night at 90 miles an hour.”

Nothing against Hargitay, but it’s clear that Mulaney should host this show, and every awards show, from now on.

Sean McVay and the Rams thought the situation was under control, or at least manageable.

Star edge rusher Myles Garrett first experienced knee discomfort and swelling during training camp, a condition that caused him to sit out the majority of team workouts throughout the weeks leading up to the season opener.

But Garrett failed to record a tackle, and was clearly not himself, in an embarrassing defeat by the San Francisco 49ers on Friday in Australia.

On Monday, Garrett was scheduled to have surgery, and he will sit out at least the next four games on injured reserve.

“Our job is to put our players and our team in positions to have successful outcomes,” McVay said Monday during a videoconference with reporters. “Thought we would take an approach where he’d be feeling good enough to go, contribute positive change and be the player that he’s capable of.

“But that wasn’t the case, and so the next right thing for us is to be able to get this thing fixed.”

Garrett, 30, will miss next Monday’s home game against the New York Giants, road games at Denver and Philadelphia and home game against the Buffalo Bills before he is eligible to return.

McVay did not have a timeline for his return.

“It’s all contingent on how do things go [Monday],” McVay said. “But I think it would be unfair to him, without having the totality of all the information, to put any sort of timeline on it.”

Garrett, a two-time NFL defensive player of the year, played only 40 of 65 snaps against the 49ers. McVay said the decision to pursue surgery was made after consulting with Garrett immediately after the game.

“We thought we were doing the right thing,” McVay said of the Rams’ attempt to manage the situation. “In hindsight, you’ll always be able to learn from it. I’ll never hang onto whether you want to say it was a mistake or just different things to be able to kind of change course.”

With Garrett out, the Rams could use a spark for a defense that gave up three touchdown passes and 174 rushing yards against the 49ers.

Will lineman Aaron Donald, who has returned from a two-year retirement, make his season debut against the Giants?

Aaron Donald practices for the Rams in August.

(Greg Beacham / Associated Press)

“We haven’t decided that yet,” McVay said. “He’s going to continue to work his process and we’ll see what that looks like.”

McVay said Donald’s situation is “totally separate” and “totally independent” of Garrett’s.

“It’s more about Aaron and how he can contribute to the collective,” McVay said. “What does that feel like with how he’s feeling to be able to resume 11-on-11 and being able to play and do the things that he’s capable of.”

In the meantime, the Rams will look to fill the void of Garrett’s absence with Josaiah Stewart, Desjuan Johnson and rookie Wesley Bailey.

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The Rams lose to the San Francisco 49ers 27-7 in the 2026 season opener at Melbourne Cricket Ground in Australia on Friday.

Stewart, a second-year pro from Michigan, made six tackles and had one of the Rams’ two hits on 49ers quarterback Brock Purdy.

“He’ll be asked to step up,” McVay said, “as will everybody in that group.”

McVay speaks often about how adversity during a season is bound to come.

But for the Super Bowl-favorite Rams, it came early.

“I don’t have a crystal ball,” McVay said of anticipating when adversity will come. “I just know this: that these are the opportunities to really separate yourself with how you handle ‘em.”

The 49ers, the Seattle Seahawks and the Arizona Cardinals all won their openers, putting the Rams in last place in the NFC West.

It’s still early, of course, but the road to a spot in Super Bowl LXI at SoFi Stadium suddenly appears more challenging.

“That is over with,” McVay said of the loss to the 49ers. “That’s in our rearview mirror. We’re all eyes moving forward.”

Etc.

Linebacker Omar Speights suffered a hip pointer against the 49ers, McVay said. “We’ll kind of manage him throughout the week, but he’s feeling better than we anticipated,” McVay said. Linebacker Nate Landman sustained shoulder and thumb injuries, but McVay said he is expected to play against the Giants.

For Orville Peck, the best Sundays are basically all the same. And they are pretty similar to every other day of the week too. The masked country singer (and now actor) got sober three years ago and has figured out a routine that helps him stay clear-minded and present with the people in his life whom he cares about.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“If I don’t keep up that routine, especially on a day like a Sunday, it quickly falls into no day feeling fun,” he says. “[The routine], which to some people is like, ‘Oh God, that looks like hell,’ is fun for me because it is fun for me to show up for myself.”

Peck’s latest album, “Mule,” which details his sobriety journey, is out Friday. That same day, he’s headlining the Hollywood Bowl, one of his favorite venues in the city.

Peck currently lives in the Hollywood Hills and has been in Los Angeles, on and off, for 18 years. “It’s definitely home to me,” he says. “I met my partner there. I’ve had some of the most important moments of my life in Los Angeles. I will always love this city.”

It’s also particularly conducive to his new lifestyle. “There’s a ton of other crazy people going to the gym and swimming and going to [12-step] meetings every single day,” Peck says. “So I’m in appropriately obsessive company for sure.”

This interview has been lightly edited and condensed for length and clarity.

5 a.m.: Early to rise

I wake up painfully early. I’ve been doing that since I was a toddler. I used to hold my mother’s eyelids open in the morning to get her to wake up.

When I wake up, the first thing I will do is meditation. I do transcendental meditation. I find every other form of meditation impossible. I’ll do TM for 20 minutes. My partner started doing it and I saw how much he was benefiting from it, so I decided to go and take the course and just loved it.

And then I’m an avid journaler, so I usually journal for probably about half an hour in the morning.

7 a.m.: Caffeination and hydration

I will make a very large iced coffee. I’m not snobbish about coffee, I’ll drink whatever.

I also fill up a massively obnoxious water bottle that has times on it that I carry everywhere. It looks like performative hydration, but it’s literally because if I don’t challenge myself to drink water, I just won’t drink water at all. It’s basically to shame myself into drinking water.

8 a.m.: Pool time, Part 1

I get to a public pool and I do laps. I grew up in South Africa and you’re forced to play every sport known to mankind. I always excelled at swimming, so it’s the one thing I still love to do. I just started up [again] within the last year.

I work out a lot, but when I’m at the gym, I don’t do any cardio. I’m never going to be on a treadmill or anything like that. Swimming feels like a fun way to keep me engaged.

10 a.m.: Meal prep

Then I go meet back up at home with my partner. We’ll go take our dog for a walk or we’ll go to a farmers market to get some produce for the week.

Then we’ll go grocery shopping because I love to cook. I will go to whatever is easiest. I’ll frequent a Gelson’s or a Ralphs or a Whole Foods. If I’m going to Whole Foods, I’m not doing regular grocery shopping. I want brands. I like a Coca-Cola.

I’d say I’m cooking usually about five or six nights a week. I’m very organized — I’m a Capricorn, if you can’t tell. I usually have a whole menu of what I’m going to do for the week, so I’ll get everything I need for that.

I will read a recipe or see a recipe I like, and then I will just freestyle it. I used to work in restaurants, so I feel pretty confident about it. But in terms of the style [of cooking], I’m best at recipes that take a long time, so anything that requires lengthy flavor building, like stews or curries.

Noon: Pool time, Part 2

Back at the house, we’ll have some lunch, something easy by the pool. So more swimming.

2 p.m.: Gym time

I’ll work out either at the house or go out to the gym. I’ve been sticking with a weight training routine for a couple of years now, but I try to evolve the exercises all the time because I get bored really easily.

Sometimes I work with a trainer. I filmed “Street Fighter” last year in Australia, so I did a ton of different training and martial arts training for months. It opened up my horizons to a lot of different forms of working out that I just didn’t know before. I’ve got a pretty big encyclopedia to pull from at this point.

4 p.m.: Recovery

I’ll usually head to a 12-step meeting, I’ll either catch one online or try to find one in person because there’s a lot around L.A.

6 p.m.: Not cooking tonight

On the weekend is where we will typically order in or eat out, maybe with some friends. Some places I love to order in from are the Sisters Cafe, which is Vietnamese, and Jon and Vinny’s.

9 p.m.: Early to bed

Both my partner and I are 80 years old at heart. We always have grand plans about watching a movie or whatever, and then we’re both inevitably snoring by 10 p.m. at the latest.

I used to live my life like a psycho maniac doing everything unhealthy. It definitely didn’t involve going to 12-step meetings and swimming laps at seven in the morning. It was whatever the opposite of that is.

When I went through the first two years of my sobriety, I went through a lot of trial and error in terms of overdoing it with things like therapy and mindfulness, and then also underdoing it as well. It took me a couple of years to really find what are the things that make me feel good about myself, make me feel grounded, make me feel accountable, and still feel like I’m living a happy life and not just white-knuckling 12 hours of, essentially, therapy every day. So I’ve found the things that really work for me.

There’s days where I will totally not do every one of those things. There’s days where I’m too lazy to go swimming and there are days where I’m like, “I don’t want to go to the gym.” I’m not militant about it. The other thing I’ve learned is to be easy with myself.

Alanis Morissette is getting candid about the terror she experienced with what she calls “postpartum activity.”

Although terms like postpartum depression and postpartum psychosis may not have dominated trending topics in the 2010s when the singer-songwriter was having her three babies, Ever Imre, now 15; Onyx Solace, 10; and Winter Mercy, 7, it’s an especially hot-button issue today. And Morissette knows a thing or two about grappling with the condition.

On Wednesday, Morissette appeared on the “Call Her Daddy” podcast and told host Alex Cooper that she experienced postpartum depression after giving birth to each of children, and that the condition worsened each time.

“Basically, I became another person,” she said, adding that her hormones felt out of whack. “There’s some version of menopausal flux combined with … invasive thoughts that are so harrowing — terrible, ceaseless, invasive thoughts, anxiety, depression, rage, off the charts. I felt completely out of control, and yet I was touring … and being a boss and being someone taking care of money and finances and everything, and that is the part where, when I’m quiet and alone, I might weep a little bit.”

In recent months, attitudes around postpartum depression have shifted, and the condition has been discussed more urgently than perhaps ever before. Hayden Panettiere’s death sparked renewed scrutiny of society’s treatment of women suffering from the condition. And the polarizing trial of Lindsay Clancy, a labor-and-delivery nurse who pleaded not guilty by reason of insanity after killing her three children in 2023, has captivated the country since July.

Back in 2019, Morissette discussed her experience with the illness, but the topic hadn’t yet garnered the public’s attention like it has today. Morissette told Cooper that when she first experienced symptoms, she reached out to multiple therapists, who didn’t seem to know how to treat the issue, no matter how well-meaning they were.

The “You Learn” singer said that the “invisible load” that mothers often carry — which the Institute of Child Psychology describes as the mental and emotional weight involved in running a home and tending to children — should no longer be invisible.

“We’re making it visible,” she said. “I’m going to tell you the 37 things that we do an hour … let’s name it. Even us calling it ‘invisible load’ keeps it invisible.”

The Grammy winner told Cooper that she went on tour while suffering from postpartum depression during the pandemic and that it became so severe, she “dipped into psychosis.”

“The depression piece inside PPD, unfortunately, I was familiar with it,” she said. “It was all the other stuff. It was the invasive thoughts and the terror. All I could picture was death and terrible things. … The bummer for me inside PPD was that I was losing people’s trust in my sanity. That’s a bummer. When I have spent my whole life attempting to establish to people I love that I’m safe, and that I’m predictable, and then all of a sudden I wasn’t. That was a loss, because people looked at me differently. They looked at me like I maybe couldn’t be trusted.”

The singer said she’d recovered since the struggle. “I feel so happy that I’m back.”

It’s been five years since “Call My Agent!,” known in its home country as “Dix pour cent” (“10 percent”), ended with the staff of Paris’ bankrupt ASK talent agency moving en masse toward the exit, as in the closing moments of “The Mary Tyler Moore Show.”

The rich workplace comedy mounted four seasons from 2015 to 2020; the fourth was made without its creator, Fanny Herrero (she went on to create the fine but less successful “Standing Up,” about Parisian comics). But she has returned, along with “Standing Up” writer Lison Daniel, for “Call My Agent! The Movie,” premiering Thursday on Netflix, which picks up the scattered ensemble more or less where they imagined they’d be when the series ended, and gets them back in the same frame.

As a movie, it’s its own sort of beast — a complete statement in a single package, with not just A and B stories, but C and D as well, and arcs that might develop over a season of the show compressed into a couple of hours. But its essentials are essentially unchanged: It’s still about the difficulty of making art, and the often unsavory business that lets art get made, with known actors playing fun house versions of themselves and our heroes attempting to wrangle them into order, with whatever works — lies, bribes, real shared feelings. The regular cast, many of whom Americans will first have met here, still feel identical with their characters, rather than just professionals who have been paid to play them, so that even when the action is outlandish the emotions are real.

The focus here is on the fierce Andréa (Camille Cottin), who has left agenting and is about to direct her first movie, a drama set in the woods, and Noémie (Laure Calamy), whom Andrea hires as a replacement producer — she has become the producer of a hit workplace comedy, “Les Colleagues,” the sort of show that produces a lot of branded merch — believing that she can mold Noémie to her will. On the domestic front, Andréa separated from partner Colette (Ophélia Kolb), a co-parent to her daughter Flora — some sticky questions will arrive, doubling the pressure.

Noémie is still with Mathias (Thibault de Montalembert), once the most formidable of agents, who has quieted down somewhat owing to a Season 4 heart attack, and the fact that he’s working in the agency his daughter Camille (Fanny Sidney) announced at the end of the series. He’s feeling old (comparatively, he is, at 64 — though Liliane Rovère as agent emeritus Arlette beats him at 93) and things with Noémie are not great, which sets the stage for some romantic comedy, including a wild boar.

Andréa’s movie brings the old cast together, including sensitive junior agent turned aspiring actor Hervé (Nicolas Maury), and I am glad to see them. (Stéfi Celma’s Sophia, a receptionist turned actor, is sadly missing.) Much goes wrong, before things go right. (It’s a comedy, they will — though there are some moving dramatic moments along the way.) To be sure, there are no backstage comedies — or dramas, or dramedies — in which nothing goes wrong, or things even go mostly right. Disaster is the air they breathe.

On the eve of production, Andrea loses her male lead (Laurent Lafitte as himself) to a Wes Anderson movie; the psychologically delicate actor they get to replace him, Vincent Macaigne as himself, who’s represented by former ASK agent Gabriel (Grégory Montel), now working for their old rival, has a messy history with the other lead, Laetitia Casta, also as herself. They can barely work together. (There will be a bit of romantic comedy wrapped around this thread, as well.)

Then there’s a storm.

The French actors playing themselves are not well known here — Casta may be more familiar as a ’90s supermodel, for those who are familiar with that sort of thing — but Americans have been given the gift of cameos from Eva Longoria and an uncredited George Clooney who takes a comically unproductive lunch meeting with Andrea, crashed, in more than one sense, by Noémie.

Though the series finale made for a satisfying ending, there was already talk then of another season or a film. Still, “The Movie” arrives seemingly out of left field, as sort of a happy surprise. It doesn’t betray its legacy. We know from the supermarket magazines and internet scandal sites that some actors are seemingly as crazy as these actors pretend to be. But somehow movies get made. Most every show business satire is also a show business celebration. There’s no business like it.

Stella Parton has released a public plea as the family continues to mourn her sister Dolly Parton’s death last month at the age of 80.

Late last week in an Instagram statement, Stella Parton thanked fans for the “genuine” support, urging them to use her sister’s life as an “example for tolerance and respect towards others.”

At the same time, she asked them to “show more compassion and wisdom.”

The 77-year-old singer-songwriter says the family has been subjected to “pressure” and “insensitivity” from strangers following the death of Dolly, who died on Aug. 25 after a private battle with cancer.

“There is a tremendous amount of [artificial intelligence] and endless garbage being posted everyday and it’s been challenging to absorb and or ignore,” Stella wrote in her Sept. 4 statement. “As time passes, those who are in the business of exploiting the loss and tragedies of others on a daily basis will move on to the next stampede of endless misinformation.”

While it is not clear what AI content Stella was referring to, AI-generated images of Dolly surged online following her death.

On Aug. 27, President Trump uploaded a fake image on Truth Social of the two walking around the White House . Another online user created an AI song that has amassed over 1.5 million views since its upload on Aug. 25. The song was falsely credited to pop singer Miley Cyrus, Dolly’s goddaughter..

“She loved her fans and the public in general. That is the reason she chose not to express her opinions on a lot of things like politics, religion and individuals in the public eye,” Stella wrote in the Instagram post. “She knew as well as anyone what a negative vortex that could turn into which is nothing but a huge waste of positive energy.”

Last year, Dolly critiqued AI content when clearing rumors surrounding her health, which swirled online after sister Freida Parton asked the public for prayers in a Facebook post on Oct. 7, 2025, in which she stated that the singer “hasn’t been feeling her best lately.”

“Did you see that AI picture of Reba and me? Oh lordy, I mean, they had Reba at my death bed and we both looked like we need to be buried,” Dolly said on Instagram on Oct. 8, 2025.

Toward the end of her Instagram statement, Stella said her plea is less about the “fake AI garbage” or “snarky tweets,” and more about encouraging the community to look within: “How will you feel about yourself? It’s not about what other individuals you will never meet think of you!”

Stella Parton is best known for her 1975 hit “I Want to Hold You in My Dreams Tonight” and a country and gospel discography that spans 21 studio albums. Also known for her acting in “The Dukes of Hazzard” and “The Best Little Whorehouse in Texas,” Stella made the distinction between her and her older sister clear at the end of her statement: “I’ve always embraced my own personality and will continue to be myself and express my opinions as I deem appropriate regardless of what anyone thinks of me.”

“Dolly loved the world and everyone in it,” Stella wrote on Aug. 27 on Instagram in her first statement after her sister’s death. “I would criticize and complain about it and she would laugh and say; ‘shoot Tedda, we’ve got more important things to do than worry about their silly a—.’ She was right, and she proved it every day.”

The Rams will depart for Australia on Tuesday night for their season opener against the San Francisco 49ers.

Will star defensive lineman Aaron Donald be with them?

“Feeling good, feeling really good,” Donald said Monday. “Come up with a game plan and see.”

But could he say for certain he will make the trip?

“I’m feeling really good. Feeling great,” he said. “Come up with a game plan and see what’s going on but I’m telling ya, I feel great.”

Donald, 35, returned from a two-year retirement to join a Rams team that is favored to win Super Bowl LXI. But the three-time NFL defensive player of the year has gone through only one 11-on-11 practice.

2026 NFL season preview

He did that on Sunday, but did not practice Monday. Donald said he did a cardio workout as part of a scheduled day off.

“I’m 35,” he said, chuckling. “You don’t play football in two years, you got to be smart. Even if I feel good, you still gotta be smart.”

Coach Sean McVay has said that Donald’s situation would be evaluated daily.

Rams defensive coordinator Chris Shula, asked if a decision had been made regarding whether Donald would play against the 49ers, said “everything’s” day by day.

“We’re ready for him if he does, ready for him if he doesn’t,” Shula said, “and we’ll have a plan for however many plays he feels like he can go and we’ll go from there.”

Donald said his ramp-up has gone better than he anticipated.

“Thought I’d be a lot more rusty,” he said, adding that things were “clicking.”

Donald said that during his first full practice, he settled in after a few plays. He is not where he wants to be, “but pretty pretty damn good, if you ask me, to not play football in two years to be moving how I’m moving.”

Donald came back, in part, to team with edge rusher Myles Garrett, a two-time NFL defensive player of the year. They have been in meetings and walkthroughs together, and now have practiced.

“It was good to be on the grass with him and do some stuff, and get a feel,” Donald said. “Because the chemistry of playing with each other, kind of learning how each other rush, how each other play, not just Myles just the whole front. … It’s exciting.”

Donald said he was ready for whatever role he fills, and that he was not going to worry about playing 60 or 70 snaps.

“There’s no pressure on me. I can just go out there play free, play ball, let the game come to me,” Donald said. “Play with the guys around me. Help them, they help me.”

Donald, an eight-time All-Pro, has 111 career sacks.

Star receiver Davante Adams is happy that he returned to join the Rams.

“Nobody knows exactly what he’s going to do statistically, if he’s going to be exactly what he was,” Adams said. “But … I know the type of person that he is and I know the way he’s going to work and I know the way he looks right now.

“It looks like it’s going to be a familiar picture for us all out there.”

Puka Nacua ready for opener

Star receiver Puka Nacua said he was happy to be participating in full-team drills after being sidelined for a few weeks because of a psoas injury sustained during a joint practice with the Dallas Cowboys a few days after the end of training camp.

The NFL has been investigating an incident that led to Nacua being the defendant in a civil lawsuit. If the league determines that Nacua violated the NFL’s personal conduct policy, he could be suspended.

But the league has not taken action, and McVay said he expected Nacua to play against the 49ers.

Did the possibility of a suspension before the season weigh heavily on Nacua?

“Definitely feeling emotion of some of the things that, just trying to handle that in the ways that I can and what’s in my control,” he said. “But also having a realistic understanding of the consequences of some of the things that I put myself in this offseason.

“But I feel like I’ve been able to feel grounded and feel present when I step out there on the football field. That’s been one of the positive things, of every time I step on that football field, never taking that moment for granted.”

BERKELEY — Twelve hours after walking offstage at the Greek Theatre on Tuesday night, David Byrne sits down with a cup of coffee on the patio of a tony hillside hotel and admits that he’s starting to get a little misty.

Last night’s concert on the campus of UC Berkeley was one of the remaining few on Byrne’s yearlong world tour after 2025’s “Who Is The Sky?” album. About an hour from now, a bus will pull up to ferry the 74-year-old musician and the dozen or so members of his touring company to the airport for a quick flight to Los Angeles, where they’re set to perform Friday and Saturday nights at the Hollywood Bowl.

“There’s a firepit over there,” Byrne says, pointing across the patio, “so after the show we all sat around and told stories. Everyone’s such a joy to work with — we’re all having a really good time.” He sighs. “That’s kind of rare, actually.”

“Who Is The Sky?,” which Byrne made with the producer Kid Harpoon, contrasts deep lyrics about art, home and enlightenment with bright pop arrangements filled with crisp grooves and singalong melodies. (Kid Harpoon, whose real name is Tom Hull, is known for the hits he’s created with Harry Styles and Miley Cyrus.) In the show, Byrne blends whimsical new tunes like “My Apartment Is My Friend” and “I Met the Buddha at a Downtown Party” with jittery oldies by Talking Heads, the hugely influential art-rock band he formed in 1975 with Jerry Harrison, Chris Frantz and Tina Weymouth.

Yet even when the songs get dark — as in “Life During Wartime,” which comes with images of police violence on the enormous digital screens behind the players — the mood is euphoric: Like Byrne’s previous tour behind 2018’s “American Utopia,” this one has the musicians holding their instruments as they execute choreographed moves on a bare stage; the result is more or less a nonstop dance party. (Also like “American Utopia,” which Spike Lee adapted into an acclaimed concert film, this tour will make its way to movie screens courtesy of “The Brutalist” director Brady Corbet.)

So you can see why Byrne would be sad to see it come to an end, not least because he’s been using his days off to tool around a given town and take pictures of cool local color. At the top of the gig in Berkeley, he showed photos from a hike he’d taken and of a car he’d come across with a tricked-out sound system.

“Any ideas of things to see in L.A.?” he asks me, dressed in a violet-colored chore jacket only a few shades removed from the blue one he wore onstage. “That hike was a workout. Even some of the dancers said those hills were steep.”

“Life During Wartime” was maybe 15% faster last night than the original record.
Could’ve been, yes. You’ll have to ask the drummers — they set the tempo, and they get excited and it kind of ramps up. It’s sometimes hard for me to keep up — I’ve got a lot of words to get out.

I was fortunate to be at Van Halen’s next-to-last show at the Hollywood Bowl, and I remember every song felt insanely fast.
Wonder if that was drugs?

You ever see Van Halen?
Never saw them live. David Lee Roth was a Talking Heads fan — came to visit our rehearsal loft once. I was kind of surprised: “How did you…?”

David Byrne performs at the Coachella festival in April.

(Christina House / Los Angeles Times)

Would you say things turned out better or worse than the future you predicted in “Life During Wartime”?
Well, we’re not having a total civil war. There’s maybe still a chance that could happen, but it seems there’s more resistance now than there was before — a sense that we don’t have to just roll over and take all the stuff that’s going on. The footage we got kind of hits home.

You show the video of the guy on the bike pedaling away from ICE agents in Chicago.
That often gets a cheer.

I wondered if it ever doesn’t.
In the United States, no. Seeing the underdog get away — that’s a pretty timeworn story. We didn’t have that video at the beginning of the tour — it didn’t exist. I saw it on some news service, and I thought, oh, this has to lead the whole sequence. When we were first putting the show together, we had more video stuff. But screens are really seductive, so you start looking at that. We said, no, you have to connect with real live people, then you can put it up.

Have you been to the Sphere in Las Vegas?
A bunch of the band and I went to see “Wizard of Oz.” I haven’t seen a band in there. But it was really a lot of fun — quite a spectacle with the video all around you.

Don Henley compares the Eagles’ role there to the organist at a silent movie.
The pit band, yeah. That’s a thing to do — works especially well, I would imagine, for bands like the Eagles and other groups that don’t do a whole lot of song and dance.

At 74, can your body do all the dancing you want to do?
Oh, no. With more physical training, I’d probably be able to do a little more than I can now. But I’m never gonna be able to do what some of the dancers can do.

How about what you used to be able to do?
Like in “Stop Making Sense”? There’s some stuff in there where I go, nope, can’t do that. But I can do other things. I don’t have a feeling that I’m barely getting by.

Are you an exerciser?
I have a person I see in New York. It hasn’t happened so much lately because we’ve been moving around so much. But Sasha [Rivero, from the touring company] leads us through these warm-up exercises before shows — kind of a cross between strength training and yoga.

Beyond the value of staying agile, how do you think about maintaining your looks?
I’m aware it’s a thing. If I came across as old and decrepit, it might be less exciting for some of the audience. Not great for business.

When did your hair go gray?
In the ’90s, I want to say. I dyed it for a while when I started seeing a fair amount of gray coming in. Then at one point I was on holiday with my then-wife and just said, “Let’s cut it off and see what’s under there.” By that point it was pretty much all gray. I was OK with it.

Who’s a performer you admire who’s still out there doing it late in life?
Caetano Veloso — he’s served as a role model for me. He’s someone who’s reinvented himself over and over and over again — done records that are very different than the record before. Even on the same record, he can be really experimental and then do something incredibly romantic.

Can you envision a time when you’d stop performing?
I don’t think so. I can see there might be a point where I don’t do as much dancing around.

I’ve seen Willie Nelson probably half a dozen times in the last 10 years. He sits there and plays, and it’s great.
“My Apartment Is My Friend,” that was inspired by a Willie Nelson song: “Hello Walls.” There’s also a George Jones song, “The Grand Tour,” where he takes you into his place: “This is where she sat, that’s where she put out her cigarette,” all this kind of stuff. I loved that you can make an apartment into a character. So I started putting down ideas, and I realized: Should I reveal that it’s about an apartment right off the bat, or should I wait till the last line of the chorus? Before that, you don’t know — it sounds like a love song. The title gives it away. But Tom, when I said “should I change the title?” he said, “The title’s what got me to listen to the demo.”

If I say that the songs from the new album didn’t come alive for me until the show, how does that strike you?
Good and bad. I wish the record had the same impact that the songs have live. But then I also think to myself: Well, the reason you go to see a live show is because you’re getting something more than you get by just putting a record on.

(Josh Edelson / For The Times)

You’ve been playing for years now with this mobile handheld setup.
I wasn’t sure an audience was gonna go for it. I don’t know why, but I thought it was kind of a big step for an audience to take in.

To not have the traditional rock band stage set.
“Here’s the drummer — we know what he does.” There were people on the last tour who would say, “It’s got to be playback — you’re not really playing it.” So I added an introduction to a song where one by one we introduced the musicians at the beginning of the song, and you could hear how we put it together. An unexpected consequence is that it democratized the whole stage experience for the band members. There’s parts where the drummers come to the front and I go to the back, which you would never have in a regular kind of show where the drummer’s stuck on a riser. Everyone gets to be a star — everyone gets to be recognized as an individual.

Would you say your eagerness to share the spotlight could only have come after years of being the focal point?
I have no idea.

Most of the musicians are pretty young.
Younger than me, anyway.

Why is that important to you?
I learn from them — musically but also personally. I learn about what music they’re listening to, what their experiences have been, what their take on things is. They’re not living in the past — they don’t have nostalgia for the good old days.

In 2023, you spent a fair chunk of time looking back with the rest of Talking Heads for a rerelease of “Stop Making Sense.” Did you enjoy that or grit your teeth through it?
It was fine — it was really nice. As we said over and over, we’re very proud of that show and the music that we did and the film that Jonathan [Demme] made. And that it was going to connect with a completely new generation. Jerry came to the show last night. He lives in Marin.

You guys hang out?
Afterwards, yeah. I mean, he had to drive back. He said he enjoyed it — said it was a good show. I connected him with our keyboard player because the keyboard player came up with these interesting technical things I thought Jerry might be interested in. He has an accelerometer attached to his arm — you don’t see it because his sleeve covers it — where he raises his arm and it increases the volume like a foot pedal on a keyboard.

Tell me about Brady Corbet’s concert movie. He shot it in 70mm.
To be honest, I wasn’t sure why. But Brady made the case, and it wasn’t about bringing people into the theater. He said when you go to 70mm it’s a little bit closer to what your eye experiences.

Talking Heads in Italy in 1982: Tina Weymouth, from left, Jerry Harrison, Chris Frantz and David Byrne.

(Luciano Viti / Getty Images)

This is kind of a cutesy formulation, but I wonder if it’s pushing back on the dominance of vertical video.
Biologically and evolutionary-wise, we experience the world horizontally. We don’t go walking around looking up at the sky — the stuff that’s gonna come get us is somewhere on our eye level.

Jimmy Iovine gave an interview to the New York Times the other day where he said one of the last things he asked AI was about your set list.
He could’ve just asked me.

Iovine was extremely pro-AI in this interview. What’s your vibe?
My vibe is positive and negative. On the positive side, we’ve all heard the hype from Silicon Valley that we’re gonna have medical breakthroughs. The negatives — how could there not be massive job loss? What concerns me is the environmental stuff. The last thing the planet needs is a massive increase in energy usage. We’re talking about the survival of species — of everything that lives on Earth. To ramp up that part of what humans do just seems like the worst possible thing you could do.

The other thing that worries me is that machines aren’t really thinking — they’re probabilistic. This stuff has been designed intentionally to mimic human beings, and we are very, very easily fooled. I think that’s dangerous because we give it agency. We assume all these things about it — we trust it. I mean, people will listen to a political argument from a chatbot more than they will from another person.

Seems bad.
Right?

Any worthwhile creative application you can identify?
I used it a little bit to animate my drawings in one of the sequences from the show. They’re my drawings — I wasn’t taking from anybody else. In that case I feel like it’s a tool that’s very efficient. Might put some animators out of work, but if I had to pay the rate for animators on something like that, it would take a year to do and cost me a fortune.

What if the producer on your next record says, “Hey, here’s a little shortcut we can use”?
We already use little shortcuts — Auto-Tune is one. That’s not AI, but we’ve been using those kinds of tools, and there’s always the danger of overusing them. When people use Auto-Tune a tiny bit, it’s pretty much invisible. But on a lot of records — I’m not talking about the Cher record — it’s a little too perfect, and you start to lose the human connection. So it’s not a clear-cut choice of: Do I use this or not? It’s: Do I get seduced and use it too much?

The back-to-back news this week of the deaths of Dolly Parton and Tim Curry — both at age 80 — felt like an unfair and twisted threat to our peace.

Both were extraordinary cultural forces whose screen and stage work lit up and shaped our lives, so its no wonder the emotional whirlpool led to one large group chat on social media, with fans posting favorite performance clips and interview soundbites. I took comfort in many, including Parton singing “Jolene” at the Grand Ole Opry in 1988 and eight minutes of Curry in the frantic “how it was done” climax in “Clue” (1985), which he reportedly performed so intensely he had to be taken to the hospital for high blood pressure.

Our writers captured the depth of the legacy each leaves behind.

Greg Braxton reflected on Curry’s significant contribution to the twisted image of clowns with his terrifying portrayal of Pennywise in “It.” Robert Lloyd took on highlighting the actor’s most memorable roles on TV. And in his appreciation of Curry, Steve Appleford praised how Curry’s roles “turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.” (Appleford spoke with Curry in 2025 for his final interview published in The Times; I encourage you to read it.)

Meanwhile, Mikael Wood waxed on Parton’s storytelling prowess in her music. Lloyd looked at her legacy on the small screen, where she appeared in variety shows (two of her own), specials, TV movies, guest shots, interviews and music videos — contending it’s where “much of America met Dolly.” Mary McNamara explored Parton’s unexpected persona as a feminist icon. And Emily St. Martin reminded us of Parton’s contributions to literacy.

The country music superstar’s performance in 1982’s “The Best Little Whorehouse in Texas,” which earned her a Golden Globe nomination, is one of our streaming recommendations this week. (For those seeking community while celebrating the life of Parton, AMC Theatres announced screenings for the film, as well as “Steel Magnolias,” in select locations through Sept. 2.) Our other streaming suggestion, if you need a life vest to keep afloat through the tears, is a series featuring veteran fashion police partners reuniting again — this time, to dole out critiques of fictional characters.

Also in this week’s Screen Gab, we spoke with actor Kristen Johnston about the Season 2 return of “Leanne.” Best known for her role as Sally Solomon in the hit ’90s sitcom “3rd Rock From the Sun,” Johnston has built a career bringing laughs to comedies like TV Land’s “The Exes” and CBS’ “Mom.” Lately, she’s been bringing her seasoned comedy skills to Netflix’s multi-cam sitcom, which captures the messy (and funny) experiences of women navigating midlife — like dealing with menopause or the horrors of the modern dating scene. Stand-up comedian Leanne Morgan stars as the titular character, while Johnston plays her brutally honest sister, Carol.

“Not every show has to be, you know, medieval dragons,” Johnston says. “There’s room for a couple of silly women in their 50s trying to figure it out.” Read more from Johnston in Guest Spot. In the meantime, I’m off to mix and bake a cuppa flour, a cuppa sugar and a cuppa fruit cocktail with the juice at 350 till it’s gold and bubbly. See you next week. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Dolly Parton as Miss Mona in the 1982 movie “The Best Little Whorehouse in Texas.”

(Universal Pictures)

“The Best Little Whorehouse in Texas” (VOD)

Dolly Parton cemented her movie star status with her feature debut “9 to 5” alongside Jane Fonda and Lily Tomlin. But outside of the irresistible title song, Parton did not sing in the film. She makes up for it with her second film, 1982’s “The Best Little Whorehouse in Texas.” Adapted from the Broadway musical, the country superstar dazzles as Miss Mona Stangley, the proprietress of the popular “Chicken Ranch” brothel. With her characteristic down-home charm, she makes her place of business seem as wholesome as apple (“There’s lots of goodwill and maybe one small thrill, but there’s nothing dirty going on,” she sings in the opening number). Parton also contributed two extra songs to the soundtrack alongside the original Broadway score, including her hit “I Will Always Love You.” — Greg Braxton

Clinton Kelly, left, and Stacy London in “Why’d They Wear That?”

(Jordan Petsy / Simple Alien)

“Why’d They Wear That?” (YouTube)

Stacy London and Clinton Kelly are back with a third “Wear” show, after “What Not To Wear” and last year’s “Wear Whatever the F You Want.” This one’s for the Stacy and Clinton fans, as it removes the clients and makeover elements and sits the hosts on a bed together in front of a TV as they critique what characters wear in the movies, viewing film through the lens of clothing, hair and makeup. (It’s very smart.) The films and actors they highlight are meaningful to one or the other — they don’t always agree — which is to say they broadly represent the tastes of people born in 1969. The range of subjects encompasses “Meatballs,” “Poltergeist,” “Best in Show,” “Gentlemen Prefer Blondes” and “The Empire Strikes Back,” in which episode you will learn that London views Darth Vader as “the Karl Lagerfeld of outer space” (“monochromatic dressing … quiet luxury and he doesn’t change — he invests in his pieces”). One episode is a tribute to Catherine O’Hara. With no one’s feelings to dance around, they can be as critical as they like, but snark isn’t the point so much as celebration and the delight of old friends sharing their own, often self-deprecating stories. Come for the analysis, stay for the laughter, or vice versa. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Leanne Morgan, left, and Kristen Johnston in Season 2 of “Leanne.”

(Patrick Mcelhenney / Netflix)

In “Leanne,” Kristen Johnston plays the ultimate ride-or-die sister you want in your corner — she turns chaotic moments into fun, tells the hard truths and provides unwavering emotional support. The Netflix sitcom stars comedienne Leanne Morgan as a woman trying to rebuild her life after her husband of 33 years left her for someone else. Helping her navigate the emotional rubble is her family, including her fiercely loyal, unfiltered, twice-divorced sister, Carol (Johnston). As Leanne confronts more change in Season 2, like turning 60 and coming to terms with aging parents that require more care, Carol remains a blunt support system. Over the phone, Johnston discussed her connection to the themes explored in the comedy and the genre of TV that has her hooked these days. — Y.V.

Change continues to be a theme in Season 2. It opens with Leanne resisting the idea of turning 60 and still not ready to be alone with herself. Carol is there to remind her that she’s capable. Tell me about your 50s, Kristen. How are you feeling about this stage of your life and the prospect of turning 60?

Oh my God! Honestly, I never even thought I’d make it to my 50s. So, the fact that I’m still here is a pretty big miracle. My 50s has just continued to be about trying to figure out my place in the world and deepening my friendships with my friends, my family. That’s about it.

Are there things you used to worry about that now you’re like, “I can handle that”?

I used to worry about everything, and now I really couldn’t give a s—. I don’t live for other people’s opinions anymore, and that was probably something I lived for for a long time. When you get fame really early, you just condition yourself to not make anyone upset and not get found out by the tabloids or be stalked. I don’t know. I do enjoy really just trying to live. Other people’s opinions matter to me, but they’re not the reason I do or don’t do anything.

You and Leanne both get a chance to play with the idea of getting older early in the season with a daydream sequence about being in the retirement home. What was that like? It hits at such a big topic that many people come to grips with at some point, which is the idea of caring for aging parents.

That’s a huge topic this season, and it one it matters to me because my mom is still here — thank God. But it’s stuff that really comes up a lot. When it’s time to get them into a home, it’s so hard, and of course, they never want to go. Who would? But literally doing that scene was so great because I’m so into prosthetics and makeup. We had a lot of fun coming up with what each of us would be.

Kristen Johnston, left, and Leanne Morgan in “Leanne.”

(Patrick Mcelhenney / Netflix)

The bond between Leanne and Carol is such an important element of the show. What do you think this show really gets right about sisterhood?

It feels very real. You have one who’s a black sheep and always blamed for everything, then you’ve got one who’s the Goody Two-shoes and got married at the right time and had kids. Carol did none of that. But throughout that, and much more important than the rivalry and being mad at each other or whatever, is just this absolute unending love. And I feel very sisterly towards Leanne. I get really emotional about her because I feel like she’s my sister. They’re pretty easy scenes to act.

You’ve worked in multi-cam sitcoms across broadcast, cable and streaming. Do you feel a difference?

I don’t know if it’s as much that they’re different, but the times sure have been different. I’m from the era where we would have the head of the studio come to every taping and send us cards and thank you or call you to come over to his house for his 60th birthday or whatever. That doesn’t really happen anymore. I’m from this other era, which really felt more personal and felt more one-on-one. Now it really just feels like, “Don’t look at me. I just want thanks for the paycheck.”

And it seems hard to even gauge how well the shows are doing.

Exactly. Leanne was so nervous about all that at first, and I just said, “Look, all we can do is our our best. Let’s just be funny and have fun, and everything else is above our pay grade.” So she went with that. That’s how we kind of roll.

OK, tell me — how often are you asked about the “Splat!” episode of “Sex and the City”? How often do people come up to you about Lexi?

It’s crazy. It’s all anybody wants to talk about, any podcasters or anything. Really, I would say 80% of the conversations I’ve had in the last few weeks are focused mainly on that.

What does that tell you that a role that was a one-off could have that kind of lasting impact?

It’s the shock of what happens in that scene more than almost anything. There was kind of this angry “I’m gonna live no matter what” vibe to her. So to watch her fall to her death out of her own hubris, it’s just a perfect little encapsulation of a moment in New York City, and I think that’s why people love it. It’s also probably one of the bigger, bigger acting choices I’ve ever made. That was Michael Patrick King. I can’t believe it still matters to people, but obviously, I’m thrilled it does. I did like three takes [of the fall]. And it could have been the stunt woman [who made the cut]. I honestly don’t know who they cut to for what.

Because when people say, “Are you a Carrie? Are you a Charlotte?” A lot of people say, “I’m Lexi.”

They tell me that all the time. I just go, “Oh, babes.” I wouldn’t really want to cling to her as like an inspiration for your character, but I think what they mean is they’re probably bawdy. There are worse things to be in life.

What’s the most recent thing you watched that you’re obsessed with?

I’ve gone down the K-drama rabbit hole. And something I loved is this C-drama called “Pursuit of Jade” on Netflix. It’s so well-done, really good and very thrilling. A period show. Love it. I’ve been sucked into that. Oh, for K-drama — “Bon Appétit, Your Majesty.” That’s pretty much where I’ve been living.

What’s your go-to comfort watch?

I like spooky, weird stuff like “True Detective,” “Broadchurch.” I just did a rewatch. I can’t believe “Broadchurch” is my comfort show. Anything with really good character development, fantastic acting. I love it.

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It’s decision-making time.

With a 53-man roster needing to be finalized by Sunday, the Chargers wrap up the preseason against the Rams at SoFi Stadium on Thursday night.

The Chargers looked sloppy in their 41-17 home loss to the San Francisco 49ers last week, following an inspiring 27-7 road win over the Houston Texans, and now aim for a better on-field product in their final tuneup.

“Just want it to be crisp [and] clean,” Chargers coach Jim Harbaugh said. “Want to see improvement. … Everybody doing what they’re supposed to do.”

Here are four things to watch for — from the Chargers’ perspective — during Thursday’s game at 7 p.m. PDT (CBS, KCAL).

Who rises or falls as roster cuts loom?

The pressure is on for players on the bubble of earning a roster spot.

“From a player standpoint, how you feel, it’s so important it’s like life or death,” Harbaugh said. “Your football life is at stake; your lifestyle’s at stake, your job. That’s how important it is to the individual player. And then, to the team — I use the analogy [of] a deck of cards [and] the shuffle — you’re trying to create your best hand.”

How many offensive linemen will the Chargers keep in the wake of starting center Tyler Biadasz’ season-ending left knee injury? Which linebacker will turn heads enough to earn a spot? Which wideout or defensive back will literally and figuratively drop the ball?

Left guard competition

Chargers guard Kayode Awosika speaks during a news conference on June 8.

(William Liang / Associated Press)

It appears the starting left guard spot is all but Kayode Awosika’s.

“Kayode has kind of taken the lead,” offensive coordinator Mike McDaniel said. “It’s almost his job to lose, just because of his growth in the last two weeks.”

Awosika wants to seal his top spot on the depth chart, so keep an eye on him. With Jake Slaughter becoming the Chargers’ starting center, their depth at left guard after Awosika is slim.

McDaniel mentioned that Trey Pipkins is still in the mix for the starting left guard spot. But Awosika probably would have to play terribly for that debate to pick up steam.

Trey Lance vs. DJ Uiagalelei

Chargers quarterback Trey Lance passes against the 49ers on Aug. 20.

(Mark J. Terrill / Associated Press)

The competition is fierce for the role of Justin Herbert’s backup.

Lance and Uiagalelei have each seen similar amounts of action throughout training camp, and neither seems to have an advantage so far.

Whoever looks better against the Rams could secure QB2 on the depth chart, while the other will likely receive a practice-squad opportunity, if not a shot elsewhere.

“I feel like I’ve made strides,” Uiagalelei said. “Each and every day I go out there, I try to get better [and] attack a certain thing.”

Although each signal-caller is still in the hunt for No. 2, Lance does have experience in McDaniel’s offense from their shared time with the 49ers. A decent showing from Lance could be enough to keep him in the same position he held last season.

“I’m talking to [McDaniel] more than I did when I was in San Francisco,” Lance said. “He hasn’t changed — same energy, same guy.”

Real glimpse of starters?

Most of the Chargers’ starters didn’t play against the Texans. And against the 49ers, they called it a game after one series.

Harbaugh said starters will be in for six to nine plays against the Rams.

“It’s been a good camp so far,” special teams coordinator Ryan Ficken said. “Ups and downs; some things we’ve been learning [and] going through; some good plays, some bad, obviously; coming off last week’s game, obviously wasn’t the expectations we were hoping for … but again, it’s a learning process.”

Choose your own adventure: would you rather travel vicariously with Sean Duffy or Conan O’Brien as your guide?

“Great American Road Trip,” the reality series from the Department of Transportation starring Secretary Duffy and his family, finally launched this week on YouTube after months of delays. Originally set to premiere in June, ahead of the nation’s 250th celebration, it follows Duffy and his wife, Rachel Campos-Duffy, a co-host of “Fox & Friends Weekend,” and their nine children as they travel through seven states. While the couple has roots on MTV’s “The Real World,” their new TV venture doesn’t seem destined to have the same cultural impact. The six episodes of the series — as of publication time — have just over 14,000 views combined.

Meanwhile, over on HBO Max, O’Brien is back for more unpredictable cross-cultural exchanges with the return of his travel series. Now in its third season, “Conan O’Brien Must Go” follows the comedian and podcast host around the world as he interacts with fans and provides glimpses of everyday life abroad with his blend of improvisational comedy and an affinity for situations that embrace the absurd. The season kicks off with a trip to India, a major feat considering the show has faced years of permit delays related to a remote segment for “Late Night With Conan O’Brien” that aired in 2004. I spoke with executive producer and director Mike Sweeney about the latest stops in the show’s world tour.

Plus, our writers recommend two TV dramas that feature formidable women — one is a former city slicker solving mysteries in the Montana wilderness, the other is a detective trying to untangle a missing woman’s case while her personal life is falling apart.

But before I set you on your streaming way, I want to also share our guide to some of Hayden Panettiere’s most notable work. When news broke this week about her sudden death at age 36, it came as an extraordinary shock. Panettiere had been working in front of the camera since she was in diapers, appearing in commercials and, by age 4, making the rounds in the soap opera circuit. Like many millennials, my first exposure to her talent was in Disney’s 2000 sports drama “Remember the Titans,” where she (at age 10) played the spunky, football-loving daughter of a high school assistant coach — and delivered the line that helped signal the prep sport was bigger than Christmas in Virginia. Though her career was cut far too short, she was part of some memorable projects, including “Heroes” and “Nashville,” that are worth revisiting.

Her influence, though, extends beyond her screen work. In her appreciation of Panettiere, culture critic Mary McNamara wrote of the Panettiere’s candidness about her mental health struggles, which included bringing awareness to the realities of postpartum depression: “Panettiere spoke up when she could have remained silent. She called out a truth that has been too long ignored and gave millions of women a chance to ask for help. She might not have saved the world, but she threw a big part of it a lifeline.” — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Tracy Spiridakos as Anna Pigeon and Paulina Alexis as Zoey Bear Child in “Anna Pigeon.”

(Michelle Faye / USA Network)

“Anna Pigeon” (USA Network)

This highly watchable, lightly addictive, woodsy episodic procedural dishes up meat and potatoes entertainment, or perhaps one should say “poutine,” given that almost all the talent involved is Canadian, as is the impressive scenery. Tracy Spiridakos (“Chicago P.D.”), just the right number of hairs out of place, plays Anna, a New York City stage manager turned federal park ranger after a personal tragedy. In Nevada Barr’s series of novels, the heroine works at a new park from book to book; here, we’re in Montana’s Glacier Park (it does run right up to Canada), the setting of the 2001 “Blood Lure,” with Anna apparently ready to stay put as long as the TV series lasts. (The first Pigeon novel, “Track of the Cat,” from 1993, informs the pilot, directed by Leah Thompson, not Canadian.) Missing persons, bank robbers, litterbug campers and an aggressive grouse bring the trouble. And murderers, of course. Community is a theme; there’s a handsome bartender for romance, a rich villain to hiss. There’s a talent show. The cherry on this sundae is Paulina Alexis, Willie Jack from “Reservation Dogs,” as Anna’s sidekick, enlivening the ensemble with her centered, serious, quietly humorous energy. — Robert Lloyd

Eve Myles as Annie Cassidy and David Morrissey as Michael Polly in “Gone.”

(James Pardon / Britbox)

“Gone” (Britbox)

Like many British murder mysteries, “Gone” opens in a picturesque portion of that green and pleasant land, in this case the rugby pitch of a stately boys school outside Bristol. Overseeing the home team is headmaster/rugby coach Michael Polly (David Morrissey) who has the mien and manner of a perpetually disappointed tyrant. When Polly’s wife, Sarah, cannot be found at the home they share with their adult daughter, Alana (Emma Appleton), it’s difficult to tell how he’s feeling, if anything. He certainly will not allow a missing wife to interfere with his task of molding boys into men, not with exams and a Very Important rugby final coming up. When he finally reports her absence to the police, it is pretty clear to everyone, especially Det. Sgt. Annie Cassidy (Eve Myles), that he knows more than he’s telling. But is it British reticence, or something more sinister?

Those accustomed to the speedy lab results and instant deductions of a standard police procedural may find themselves, at least initially, shouting out instructions and demands — how can the forensics report be so scanty? why is [fill in the blank] not brought in for questioning? But the show is, essentially, a psychological drama wrapped in a murder mystery. Anchored by splendidly counterintuitive performances by Morrissey and Myles, “Gone” will wrap up its case over six tense and twisty episodes. But the questions it raises — about the insidious power of abusive relationships, the complexity of human emotions and the peril of considering secrecy as protection — linger long after immediate justice is served. — Mary McNamara

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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Conan O’Brien in a segment filmed in Morocco for Season 3 of “Conan O’Brien Must Go.”

(Team Coco / HBO)

As a member of the growing subgenre of celebrity travelogue, Conan O’Brien has cuddled with Javier Bardem in Spain, dressed up as Sigmund Freud in Vienna and faced off against a Muay Thai fighter in Thailand. The new season of “Conan O’Brien Must Go” has the frequent flier funnyman visiting India, the Netherlands, Morocco and the Philippines — meeting his international fans and testing how well his improvisational humor translates. I spoke with his longtime collaborator Mike Sweeney, co-writer and director on every episode, about this season’s locations and O’Brien’s SPF needs. — Y.V.

The series is a chance for Conan to interact with international fans, particularly those that have been on the podcast. Why do you think Conan’s style of humor travels so well?

He’s fearless. I think that helps. He genuinely loves people, and he has to make people laugh. He has to make people laugh all the time in the United States. And then if you put him in another country, he’s going to figure out how to get his laughs over there, even if no one speaks English. It’s literally like being thrown in a room where he’s got to find his oxygen, and he’s gonna find it by getting laughs everywhere he goes. I’m sure the fact we have a camera with us, people are curious. They tend to attract people who want to open up and play around. People can spot him from a mile away. That also helps. That’s another key to a good travel show — have a really tall orange-haired host.

The first episode is set in India. Things start with him trying to get on a crowded commuter train. What were some moments from that episode that stand out to you?

Yes, we wanted to go in the famous Mumbai commuter trains. Boy, the amount of red tape to get permission to even go down on the platform was crazy. We had to do it several months out. But we loved that [segment]. We loved playing street cricket. He had a young man teaching him, named Veer [Pandey], who was very funny and kind of dismissive of Conan, and that’s kind of Conan’s sweet spot.

Some countries have incredible restrictions — you might need permits to talk to people in the street, you’re dealing with curveballs. And a lot of what Conan does is improvised and you don’t want rules to get in the way. How how do you deal with that?

It varies from country to country. You get a feel for it early on and go, “Oh, we need figure things out far in advance here. You’re getting to a very important point, which is: How much red tape is there in each country? India — a ton. We knew that because we almost shot there in 2018 [for “Conan Without Borders”] and it fell through ultimately because of all this red tape. We knew we really had to have a running start with India. But the Philippines, they were pretty cool. Same with the Netherlands. You know what the big issue is nowadays? Drones, where they let you shoot with drones.

Conan O’Brien during a Bollywood segment in his travel series.

(Team Coco / HBO)

What’s it like doing a travel show as the current administration puts stress on international relations? Did you notice any shifts this season on how you were either received or what’s possible to get cleared because you’re an American show?

Not overtly. Nothing was represented as like, “Oh, you want to come shoot here? Well, we’ll teach you a lesson.” I’d say really surprisingly, it was business as usual in terms of getting permissions to shoot. What’s going on in the crazy United States really wouldn’t come up that much because the things we’re doing are apolitical, which is usually how we like to do it. It’s Conan connecting with people and, in a way, be a political statement because it comes down to respecting other cultures and wanting to learn about other cultures and bridging gaps that way.

There was that moment on the commuter train where a passenger rebuffs Conan by saying, “Fake a— liberal media.” And Conan just rolls with it.

Yes, it’s just like, “Oh, they they even have people calling stuff out like that over here.” It was almost like, “OK, I feel at home. Thank you.”

We all saw that Conan, famous for his red pompadour hairstyle, recently made headlines for a slick, oily hairdo, which was the result of a severe scalp sunburn. In the Morocco episode, there’s a sun-heavy segment. Were you worried about his scalp then? How much budget goes to Conan’s SPF needs?

He’s self-regulating because he has to be that way in California. He has to be that way on a cloudy day in Cape Cod. It’s just ingrained in him, his sun protection. I don’t even think about it. It was business as usual for him in Morocco.

What’s a show you’re currently obsessed with or recommending to people?

We loved “Widow’s Bay” [Apple TV], of course. I sound like everyone else, but also Katie Dippold is great. She was an intern at “Conan,” and I’ve seen her a few times over because we kind of lived near each other in Los Feliz. But she’s just delightful. We’re so happy for her, and plus that show was just amazing. And my wife and I dipped back into “Slow Horses.”

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Dodgers president Stan Kasten wants to make it clear that majority owner Mark Walter will not sell the team.

Following Walter’s decision to sell his majority stake in the Lakers, questions about his majority ownership of the Dodgers were raised amid his company’s financial difficulties, which include a federal probe of his businesses. But Kasten said it will have no effect on Walter’s majority ownership of the Dodgers.

“The Dodgers are not being sold,” Kasten said. “They’re not going to be sold. They’re not for sale. There’s no process that has been started to sell [the franchise]. Period. … I just wanted this to be clear because this question keeps coming up. I understand the questions; I do. The Lakers thing was what we call sui generis, one of those one-of-a-kind things. Really has nothing to do with what’s happening with [the Dodgers] or the other teams.

“I wanted you to hear it definitively: We are not selling the Dodgers. We are continuing with our plans going forward, like we always have had them. This comes from Mark. He’s gung-ho about continuing to try to win, again, including next year, subject to whatever next year’s climate looks like.”

Kasten added that he doesn’t expect the Dodgers’ operations to be interrupted, describing the franchise as “very stable, well-managed, and [with] very solid ownership.”

“I know nothing involving the Dodgers is part of the investigation,” Kasten said. “I’m promising you, when it’s over, you’re going to realize [things] are being mischaracterized. You don’t have to trust me, but I’m telling you.”

When Kasten was asked about reports Walter is trying to sell his stake in English Premier League team Chelsea FC and tried to cash out of lucrative TV deals with Charter Communications, he said they were mischaracterized.

“Those things don’t go together for a bunch of reasons I’m not going to get into today,” Kasten said.

Kasten took a similar tone when asked about reports of Walter having to repay insurance companies.

“I’m not in that part of the investigation,” Kasten said. “Things are going on behind the scenes, obviously, in connection with that. I’m not privy to all of them, don’t need to know, don’t want to know. But one thing we are all certain about: the sports portfolio is going to remain intact.”

Walter has additional ownership stakes in the Sparks, the Cadillac Formula One team, the Professional Women’s Hockey League and the Billie Jean King Cup tennis event.

“I can tell you from the guy running the team, knowing how the business runs and what it can support in terms of revenues and expenses — the Dodgers aren’t going anywhere,” Kasten said. “I feel that very strongly, and Mark feels even stronger than I do. I’m 74. I don’t know how long I’m going to be running it, but Mark, I think, is going to be running it a lot longer.

“I think Mark has done an extraordinary job as an owner, and all he’s ever cared about is providing the best experience in order to make us more money, to make this project successful,” Kasten added. “I think so far it has been; I expect that to continue far into the future.”

Grammy-winning singer Jill Scott brought her “To Whom This May Concern” album — her first in more than a decade — to life at Inglewood’s YouTube Theater last week. Backed by a razor-sharp 11-piece all-male band (including background singers fittingly dubbed “Freeman”), Scott moved effortlessly through a two-hour set filled with songs from the genre-expansive album along with several fan favorites like “He Loves Me (Lyzel in E Flat)” and “Gettin’ in the Way.”

Enforcing a phone-free policy at her personal request, the North Philadelphia native kept the audience intensely locked in — hanging onto her every word and every seemingly impossible note she struck with ease. Before long, it was easy to forget that we didn’t have our devices. Smiles filled the intimate room. Couples danced together. Strangers sang to each other in joyful unison, while others closed their eyes or held their hands on their chest in complete awe of witnessing a veteran artist in her element.

Jill Scott is on tour for “To Whom This May Concern,” her first album in over a decade.

(Jada Imani M)

In her only interview during the tour thus far, we caught up with Scott backstage to talk why she never performs a song the same way twice, how removing devices makes concerts better and why she thinks “To Whom This May Concern” deserves several accolades.

I’m still coming down from all of the energy from the show. How are you feeling post-show?

I am hot from the inside, and it’s gonna take me hours to calm down. [Laughs]

You’ve always described music as an intimate, two-way conversation between you and the audience. For this tour, you created a strictly phone-free space. Why did you decide to do that and how did this shift the experience for you as a performer?

In a couple of ways. One part is that it’s terrifying because there’s no buffer between me and them, so that’s actually scary, but I embrace it. The other part of it is that it’s wonderful because people initially come in kind of nervous about not having a buffer between myself and the space or themselves and space. Then I watch them gradually release, and I get a kick out of that every night. That’s my favorite part.

I’m surprised to hear that it’s scary for someone like you who’s been performing at such a high level for so many years.

Because I care. It matters to me. I really want them to have a good time. I really want them to release some things, allow themselves to be. If you want to make out, if you want to dance, if you want to cry, if you want to shout, or put up your hands in the air, or sit still, I want them to be able to do that. I think it’s important. That’s the relationship. That’s the real relationship between artist and fans of the music. It’s the connection between the music. I’m here to [be of] service. I’m here to push the ship along, but it’s really their relationship with the music and I’m a conduit. That part is probably one of my other favorites. You have to relinquish your id and allow the thing to be the thing. I think sometimes you can practice the joy and the life out of a thing. We practice a lot, but then we forget everything we practice so that it’s alive. My musicians’ freedom is mandatory. It’s a part of the job. So if they show up and play the exact same thing in the exact same way every night, they’re probably not going to be around very long. I need them to be wide open and to rediscover the music every night from their perspective. It’s their 11 perspectives on stage, and then of course there’s the lighting designer. I need him to be free. Don’t give me the same light at the same time every night. Even front-of-the-house sound engineer as well as our in-ear monitors, everybody is playing a part. “What does she need? Let’s read her. Let’s, you know, pay attention. What does she want?” It’s a lot of fun.

You could see really feel that from you and your entire band.

Tonight was a different audience. They were very attentive. Last night they danced all night long from the very beginning. I couldn’t even see the floor. Tonight they were listening. I know it’s a Wednesday night. Everybody’s got to go to work [the next morning], but they were beautiful. The listening audience is probably my favorite. They get quiet and I’m like “Oh, it’s so scary. Am I doing the right thing?” [Laughs] But that means they’re listening. Who doesn’t want to be heard?

Your son came out with you tonight. How was that experience for you?

It’s beautiful to see. He told me Tierra Whack is not traveling with us because she has a new album out, “Whack’s Museum,” so she’s a little busy. He was like, “Mom, how do you feel about me doing the second verse?” and I was like “Be at sound check tomorrow with a mic in your hand.”

He looked so comfortable on stage.

He does. It’s kind of scary. Super exciting. I don’t know what he’ll want to do, but he’s working our set, so he’s a part of the crew. So after he does his performance, he puts back on his blacks and he does his job, and I love that for him, to have that sense of responsibility. He’s exceeding anybody’s and everybody’s expectations. He’s so good at this. All the clothes you see, he steamed up.

He’s really working his way up.

Yes, you must earn your way.

Your album “To Whom This May Concern” released in February, and it feels like a love letter from your favorite auntie. There’s lessons about learning from your mistakes, honoring your ancestors and loving yourself. Now that your fans have been living with these songs for several months, I’m curious if performing them live has shifted your relationship with them at all?

No. On a great night, I like telling the stories that I’ve read. I like embodying them in front of other people. I like watching them experience them in a new way. I’m a fan of that. It just makes it more and more true. Then I see how many people are singing along and how many people are looking at me, and I’m like “Yesss.” It’s reaching the people and I know it’s going to be different because there’s a different audience every night. So I’m thrilled about the project and how it’s touching people. You hope you don’t work this hard at a thing for it to fall on deaf ears, and I know how microwavable music has been, but I believe the cream rises to the top. It’s been a beautiful 26 years. I look forward to 26 more — in my way.

Your album has been receiving a lot of praise from fans and critics. There’s still a few months before the Grammy nominations are announced, but at this point in your career, how important is that recognition to you? Is it as important as it was when you first started your career?

I think I deserve it. That’s all. [Flashes a smile]

I mean everything about this project from beginning to end is blood, sweat and tears. I stayed up many nights just to write, a hunger in my belly and a savage appetite. And I mean it. Everything is true and I love that for me. That’s the kind of thing that takes time and I think musically, it’s incredible. I think the stories are awesome and intentional, and everything about it, from the planning of it to the marketing, has been from my soul, and I think it deserves several.

The first time that artist and filmmaker James Spooner heard Patti Smith’s song “Rock n Roll N—,” he cringed and reflected on the years of racism, microaggressions and abuse he dealt with as a young Black punk rocker in California’s high desert and later, New York.

According to Spooner’s new book, “It Starts With Anger,” this moment of reflection is a catalyst that prompts him to pursue a closer examination of the experiences and challenges Black people face in punk rock and alternative music scenes that are predominantly white.

“If there was such a thing as a ‘Rock n Roll N—’ Patti Smith wasn’t going to be the one to define it. Right then, I decided I was going to make a movie,” Spooner writes in his book.

In 2003, Spooner started working on a documentary called “Afro-Punk,” which took him across the country as he interviewed Black artists, musicians and fans to talk about their experiences in punk rock. “Afro-Punk” starts by calling out Smith’s controversial song before diving into what it means to be Black in a music scene intended to welcome outsiders, but which nonetheless alienates and projects harmful values toward people who are not white.

“I don’t think she’s a bad person, I think she’s a white person who was trying to be edgy and then just like doubled down her whole career,” Spooner told The Times. “I’m all for and have always been understanding of people who make mistakes, people should have an opportunity to correct themselves.”

The punk rock documentary is being rereleased this month after Spooner launched a successful Kickstarter campaign to remaster the film. The rerelease coincides with the publication of Spooner’s new book, “It Starts With Anger,” which covers the author’s personal history, the creation of the documentary, the larger Afropunk brand (it does not use a hyphen like the film), and the eventual demise of his brainchild at the hands of corporate ventures. “Afro-Punk” will premiere in Los Angeles and New York, with a special screening and book talk on Sunday at the Skirball Cultural Center with former S.O.A. and Black Flag vocalist Henry Rollins.

“Young people at the time needed it,” Spooner says about his documentary “Afropunk.” They needed that connection to see that there were other young Black punk rockers, they needed to hear from them and know that they had common experiences.”

(Lisa Nola )

“Before there was anything negative attached to it and before there was any corporate interest attached to it, people saw the movie and were like, ‘Oh, that’s my story, I guess I’m an Afropunk and didn’t even know it,’ and then they started calling themselves that,” Spooner said. “I helped define an experience for a group of people in the underground, I inadvertently helped to define an experience for a lot of people who feel othered and ostracized.”

Spooner, who upheld punk’s DIY ethos by shooting, producing, directing and editing the entire project himself, recently regained the rights to his film after a contentious years-long legal battle against his former business partner, Matthew Morgan, and Essence Ventures, the current owners of the Afropunk brand.

“The way that it all turned out in the end, it’s like, not everybody gets to see the long arc of justice in their lifetime, but to be so hurt and slighted and then watch karma do its thing is like, why waste time with being pissed off anymore? There are still things that I wished wouldn’t have happened, but I’m lucky in the end,” the Afropunk founder said.

After Spooner made his documentary, he realized how much the film resonated with Black punks who yearned for community and acceptance. Damon Locks, a visual artist and musician who was featured in the documentary and later worked as a publicist for the Afropunk festival, said he was “really impressed” with the film when it first came out, and that “James’ instincts were correct” when it came to the vision and execution.

“Young people at the time needed it, they needed that connection to see that there were other young Black punk rockers, they needed to hear from them and know that they had common experiences,” he said.

Eager to extend the reach of “Afro-Punk” beyond the documentary, Spooner began organizing a series of DIY underground punk shows known as “The Liberation Sessions,” with the goal of developing this concept into a major festival. He also decided to enter a business relationship with Morgan, who offered to manage Spooner’s creative affairs and help him take “Afro-Punk” to the next level.

According to Spooner, Morgan wanted to bring in corporate sponsors and feature music genres outside of punk to generate more interest and maximize profits. Spooner said he reluctantly compromised, yet after several years of working with Morgan, Spooner grew disillusioned with what Afropunk the festival became.

Maurice “Moe” Mitchell, vocalist for hardcore band Cipher and national director of the Working Families Party, was featured in the documentary and performed at several Afropunk shows and festivals. He said what happened with Afropunk is “a tale as old as time” and Morgan being outside of the movement led to “moneyed interests” altering what Spooner had created.

“At some point, those interests figure out how to co-opt, how to monetize, how to profit, how to take over this thing and it becomes a shell of itself, no longer owned or operated by the original originators, just a product or a marketing scheme for some company,” Mitchell said. “And that is rinse and repeat what happens to really good art and really good movements, and it’s what happened with Afropunk.”

By 2008, Spooner decided he wanted to walk away. He moved to Los Angeles and signed over the Afropunk rights and trademark to Morgan.

“My priority was to the kids … and I didn’t want for them to not have Afropunk just because I was over it, just because I moved on to the other side of the country, I could have just been like, ‘F— you, everything’s in my name, if you want it, sue me,’ I could have done that and I probably would have won because everything is in my name,” the punk filmmaker said. “I also was incredibly broke, I was not only broke when I moved to L.A., I was like $20,000 in debt on credit cards, so it was not like I was in a good place to continue this thing.”

As “Afro-Punk” returns to screens in Los Angeles and New York, Spooner leans into punk’s rebellious ethos, reclaiming his work and spotlighting Black liberation in loud, uncompromising ways.

(Lisa Nola )

In 2020, Spooner sued Morgan for failing to make contractual annual payments and failing to observe a clause in their 2010 agreement that mandated that if more than 50% of the company was sold, Spooner was entitled to a share of the profit. In 2020, Essence Ventures acquired the Afropunk LLC, but Spooner was not made aware of the sale. After a complicated legal battle against both Morgan and Essence Ventures, Spooner settled, successfully recovering the rights to the film in 2025, which he says was more important to him than financial compensation.

Representatives for Essence Ventures did not immediately return requests for comment.

“I didn’t start ‘Afro-Punk’ with money in mind, I wanted people to see my film,” Spooner said. “I wanted people to see my film, and then people saw the film, and then I wanted those people to stay in the room together and become friends, and all of that happened.”

Mitchell, who ended up becoming friends with Spooner after participating in the documentary, said he is “very happy” that Spooner “came out vindicated” in the legal struggle. The Cipher frontman believes “Afro-Punk” is an important documentary that shows “what it means to be a person of color in America,” and which makes visible the identity issues Black people experience beyond the punk rock community.

“That’s also the story of Black people when we lean into our liberation, right?” Mitchell said. “Like we are expressing ourselves in very loud and uncompromising ways that challenge the status quo and so I’m really happy that this film is coming out because this is a moment where we need as many people, as many Black people, to lean into who we are in loud and uncompromising ways, because we have a whole political structure that is demanding our compromise.”

As Spooner celebrates the release of his new book and the premiere of his remastered film — which he says still needs distribution — he hopes that he can continue shedding light on the Black experience and sharing the legacy of what he created as a young Black punk rocker.

“It’s wild to me that I made something when I was 25 that people still care about, and I hope that it keeps reaching another generation and proves itself to be valuable in some kind of way,” he said.

WASHINGTON — President Trump played White House tour guide on Wednesday, showing off the helipad he is building on the lawn before leaning over to autograph a piece of it and bragging about the ballroom he’s rushing to complete despite legal challenges.

Trump gushed for several uninterrupted minutes about granite being laid and said the chopper landing area would leave visiting foreign leaders “very impressed” — including Chinese President Xi Jinping, who is coming next month.

At times, he sounded almost like a construction manager, singing the praises of granite over asphalt in painstaking detail and noting for reporters he brought out for the show that the stone could withstand 35,000 pounds per square inch of pressure.

“That’s stone that, if you took a hammer and you started hammering right now — all day long — you wouldn’t see a mark on it, literally, that’s the kind of power it is,” Trump said, at times straining to be heard over the thrum of ongoing work behind him.

The president also revealed for the first time that he has replaced the walkway from the White House’s diplomatic entrance along with a portion of the asphalt driveway around the South Lawn with white granite.

“One thing I know how to do is build,” he said, asserting that asphalt is “not appropriate for a great house, or a great place like the White House.” He said that, had he instead merely used “really powerful concrete,” it would have supported ”just a tiny fraction of that in terms of strength.”

Trump relishes being the builder-in-chief

The president is called upon to fill many roles as president, but embraces none with as much zeal as managing various building projects to mold the White House and large swatches of Washington in his own image, seeming happiest recalling his days as a real estate developer.

Trump also likes to show off his handiwork and having the White House press pool on hand at all times gives him a readymade audience. Last year, he made an appearance on the roof of the briefing room to survey a future work site, and earlier this summer, he took reporters for a closer look at the ballroom construction site.

It suggests Trump remains focused on such projects, even as his war in Iran nears the six-month mark, his approval ratings sink with just 2 1/2 months to go before critical midterm elections, and as voters are increasingly worried about a weakening economy.

Trump drove home just how important the construction projects are to him, calling the work “very exciting.”

“This will be here long after we’re gone,” Trump said of the projects. “No matter what happens with the world.”

But whether it will endure after he leaves office remains to be seen. Trump once suggested that his refurbishing of the Lincoln Memorial’s Reflecting Pool would last a century, only for the paint to fade and its liner to peel away in chunks just days after it was laid.

Trump again says his ballroom will have security value

The president has increasingly insisted that the $400 million ballroom will add security to the White House and include things like anti-drone technology. His administration even unsuccessfully sought $1 billion in congressional funding to make military improvements to the structure.

“This will be the greatest military complex slash ballroom anywhere in the world,” he said.

Trump also scoffed at court orders seeking to block its construction without congressional approval, saying work is continuing regardless and predicting that the Supreme Court will eventually side with him and allow the project to be completed.

The president found time to talk again about one of his favorite subjects of late — grass — and praised at length Scotts-Miracle Gro. The company’s former CEO is a Trump supporter, and it donated $1 million to repair the grass on the White House lawn after it was damaged by Trump’s UFC fight marking his 80th birthday in June and by the helipad construction.

At one point on Wednesday, Trump signed the back of one of the granite stones that was marked “Donald Trump 45-47 president” for the occasion. Its front is shaped like an eagle and will be laid into the helipad’s presidential seal once work is completed.

“I thought this would be a little different kind of a news conference,” the president said. “We were going to sign this privately and just put it in. I said, ‘This is something I think the press should see,’ and I hope you liked it.”

Trump had some of the construction workers sign the granite, too, and joked about leaving it upside-down so that his signature would be visible for future generations.

“Nice job, fellas,” he told the workers. “Does anybody know the word media?”

Trump also confirmed Wednesday that he’d delayed ongoing work on the helipad to ensure the project could be regraded to lay flatter.

He said that the granite used “has a million-year life” and predicted that it “will never break. It will never leak. It will never do anything” — which would mark a departure from the problem-plagued Reflecting Pool project.

“Nature is stronger than what the human can produce,” Trump said of the granite. “It’s really pretty amazing.”

Weissert and Binkley write for the Associated Press. AP writer Darlene Superville contributed to this report.