unveils

Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.

The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”

Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.

When Desai plans the company’s season lineup, he always surveys the year ahead — literally.

“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.

Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.

As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.

This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.

“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.

“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”

The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.

Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”

“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.

Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”

“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.

“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.

Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.

“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.

The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.

Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.

With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”

After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”

The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.

“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”

Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.

See the full season, here.

When he entered the race for California governor, San José Mayor Matt Mahan pitched himself as a pragmatic Democrat who would prioritize improving residents’ quality of life and government efficiency.

He unveiled a key part of that promise on Tuesday with an expansive plan to reform state government, including tying pay raises for elected officials and other top leaders to improvements on key issues, and pledging not to approve any tax increase until the state proves “that we can deliver better outcomes with the dollars we already have.”

Mahan also delivered a blistering rebuke of ballooning state spending — which, as he often points out on the campaign trail, has increased nearly 75% over the last six years. In 2020, amid the COVID-19 pandemic and accompanying economic uncertainty, California lawmakers approved a no-frills state budget that came in at $202 billion. Gov. Gavin Newsom’s latest spending proposal is nearly $349 billion.

“We have fallen into this lazy, reflexive mindset of always going back to voters and telling them that the only solution to every problem is a tax increase or a new bond or a new rule coming down from Sacramento,” Mahan said in an interview. “We need to step back and take a really hard look at our existing spending and increase the level of transparency and accountability in government.”

His eight-page plan includes ways to measure and track accountability, some of which are drawn from policies in other states. They include lobbying reforms, following up on audit recommendations and overhauling the state’s digital infrastructure and its procurement process — services Mahan described as “clunky and cumbersome.”

He also proposed a “California Performance Review,” inspired by a similar effort in Texas throughout the 1990s, that would review state agencies and solicit input from employees to eliminate waste and inefficiencies.

But near the top of the list is a proposal to tie pay raises for state officials including the governor, lawmakers and thousands of gubernatorial appointees to “measurable outcomes” in areas such as reducing homelessness and unemployment.

“People in the real world don’t get raises if they don’t do a good job,” Mahan said, “and I think it should be the same for the politicians and senior administrators who are allocating budgets, leading projects, making the big decisions on behalf of the people of California.”

Though the benchmarks would be created with input from the state Legislature, Mahan floated one example: reducing unsheltered homelessness by 5% to 10% within one year, something he said he’s accomplished three years in a row in San José.

It’s a solution one might expect from a former entrepreneur and mayor of a city in the heart of Silicon Valley. Mahan made a similar proposal at the local level last year, but it was rejected by the City Council.

“Tying pay to performance is nothing short of revolutionary in government. It’s a private-sector model that is overdue,” said former state Sen. Steve Glazer (D-Orinda), a Mahan supporter who sponsored several bills aiming to increase transparency in government.

Dozens of tech company executives are backing Mahan in the race for governor and have collectively donated millions to his campaign, as well as two independent expenditure committees supporting him.

That has raised concerns from some voters, and criticism from some of Mahan’s opponents, that he would be beholden to their interests and veto future regulations on tech or artificial intelligence companies.

Mahan has sought to dispel those concerns, arguing that he believes AI and social media platforms should be regulated. Of his plan to overhaul state information technology systems and infrastructure, he said that “whenever we spend public dollars, we have to run open, transparent and competitive procurement processes that ensure best value for the taxpayers.”

Though Mahan did not specify how he would link government outcomes to pay raises, state lawmakers have largely panned his campaign and are unlikely to get on board. The change probably would also require voter approval.

Currently, annual raises for elected officials are determined by a citizen commission that was added to the California Constitution in 1990. Changing how that panel works or imposing limits on when it can approve raises would require a constitutional amendment, which requires voter sign-off.

But Mahan contended it would be one of the fastest ways to fix a system that he says works for special interests at the expense of working people.

“I’m under no illusion that this will be easy, but I think it’s a necessary realignment of incentives,” he said. “We have to make ourselves as accountable to the people as we possibly can be.”

March 24 (UPI) — The Department of Defense has announced new restrictions on reporters, including removing their office space from the Pentagon, after a judge last week struck down a Trump administration policy that threatened journalists’ credentials for obtaining unauthorized information.

Under the new policy announced Monday, reporters will be required to work from new office space outside the Pentagon but in an annex facility on its grounds. It also requires credentialed journalists to be escorted by Department of Defense personnel at all times within the Pentagon.

The announcement comes after the Defense Department announced a new policy in October that required all journalists with access to the Pentagon to sign a form acknowledging they could have their credentials revoked for collecting unauthorized information. Most Pentagon reporters declined and surrendered their credentials.

The New York Times then sued the administration of President Donald Trump. On Saturday, a federal court judge ruled in the paper’s favor, stating the policy was unconstitutional and ordered the Pentagon to reinstate the credentials of seven journalists with The Times.

The Pentagon intends to appeal the decisions, and in the interim announced the new policy shuttering the Correspondents’ Corridor and mandating journalist escorts, which Sean Parnell, assistant to the Defense secretary, said in a statement was in compliance with the court’s order.

“The Department always complies with court orders but disagrees with the decision and is pursuing an appeal,” he said.

A spokesperson with The Times quickly repsonded to the new policy, saying “We will be going back to court.”

“The new policy does not comply with the judge’s order,” Charlie Stadtlander, the Times spokesperson, said in a statement.

“It continues to impose unconstitutional restrictions on the press.”

The Trump administration has repeatedly taken actions that critics say are aimed at influencing its media coverage, including the October memorandum, restricting access to outlets over editorial decisions and seizing control of the White House press pool.

Journalists and free speech organizations were quick to crticize the policy, with the National Press Club calling the closure of the Correspondents’ Corridor an effort to undermine independent reporting of the Pentagon while it is fighting a war with Iran.

“At a time when the United States is engaged in active military conflict, the public depends on journalists being able to observe, report and ask questions freely,” NPC President Mark Schoeff said in a statement.

“Independent reporting on the U.S. military is not optional. It is essential to accountability, transparency and public trust. Any policy that curtails that access should concern everyone who values a free and informed society.”

The Pentagon Press Association said it was consulting with its legal counsel, according to a statement obtained by Axios.

“Press freedom is guaranteed by the U.S. Constitution and an informed public is vital to democracy,” the organization said.

“At such a critical time, we ask why the Pentagon is choosing to restrict vital press freedoms that help inform all Americans.”

Fans are already adding the ‘haunting’ series to their watchlists

Fans of true crime say that they are already ‘hooked’ on the idea of Netflix’s upcoming series as it unveils plans for an adaptation based on a ‘haunting’ bestseller.

The series, The God of the Woods will be based on the New York Times bestselling novel of the same name, written by Liz Moore. It is the same writer behind the book Long Bright River, which was also turned into a series that hit screens last year and starred Amanda Seyfried in the leading role.

Author Moore will also serve as a co-showrunner according to Deadline, alongside Liz Hannah who has previously worked on The Girl From Plainville and Mindhunter. This time around, it has been confirmed that Stranger Things star Maya Hawke has been cast in the starring role.

She will play Judy Luptack, a smart and quietly determined investigator assigned to unravel the disappearance of a young girl from a summer camp in upstate New York. While the show will be a work of fiction, those who are obsessed with true crime have already admitted they can’t wait for the show to release. Unfortunately, there’s currently no confirmed release date.

The official synopsis describes the show as “a multi-generational drama series set in the Adirondacks, exploring the Van Laar family’s dark secrets, class tensions, and the mysteries surrounding the disappearance of 13-year-old Barbara Van Laar from her family’s summer camp – in the wake of an earlier family tragedy that may be related.”

It continues: “As the past and present collide, the Van Laars’ wealth and influence unravel, revealing the damaging consequences of privilege and the abuse of power.”

While this looks set to be the Robin Buckley actress’ next major role for TV, fans will also be able to see her in romantic comedies Wishful Thinking and One Night Only as well as the Hunger Games prequel Sunrise on the Reaping. All of which are all currently scheduled for 2026 releases.

Fans are already highly anticipating the series and claiming this casting news as ‘perfect’. One responded to the news on social media saying: “That sounds like a perfect role for Maya Hawke. She really shines in those layered, introspective characters.

“A quiet but determined investigator in a mystery like this? Yeah, this could be something special. Definitely adding The God of the Woods to my watchlist already!”

Another added: “Read The God of the Woods last year and loved how layered and haunting it is. Maya Hawke feels like perfect casting for Judy Luptackquiet. Intensity is her specialty. Netflix, you’re cooking!”

Someone else replied: “The book-to-Netflix pipeline is undefeated right now. Liz Moore wrote one of the best thrillers in years, perfect choice for adaptation.”

While one person commented: “Maya Hawke in a thriller about a missing girl from summer camp?? This is literally made for my true crime obsessed brain, I’m already hooked.”

Stranger Things is streaming on Netflix now. The God of the Woods will be streaming on Netflix soon.

Five teams will compete in the new series of the BBC travel show, racing from Europe to Mongolia

The upcoming Race Across the World contestants are shown battling through thick snow in an early look at the new series.

The much-loved BBC programme – which features teams racing vast distances on limited budgets, without phones and banned from flying – is back for a sixth series, and the broadcaster has released a short preview in a teaser trailer, reports Wales Online.

Whilst the departure point hasn’t been revealed yet, this season the participants will face the challenge of travelling from Europe “to the uncharted edges of Mongolia”. Footage in the trailer captures the racers riding horses, navigating major cities, leaping from boats and attempting to hitch lifts.

“The further they go, the closer they’ll get,” flashes across the screen, as one of this year’s participants is heard saying: “This race, it’s a lifetime of exploring in such a short amount of time.

“It’s going to open up a lot of doors not many people have the privilege to unlock.”

Another contestant is then heard exclaiming: “This is an adventure.”

The BBC teased: “In this vast east-to-west journey, five pairs race from the familiarities of Europe all the way to the uncharted edges of Mongolia in Race Across the World series six.

“These teams must forge their own path… But on this journey of extremes, who will finish first? No flights. No phones. No safety net… Let the race begin!”

Fans have declared they “can’t wait” following the series preview, with one posting on Instagram: “So excited for this.”

“OMG…. Can’t wait for this one!!!” gushed one person, whilst another fan declared: “My favourite programme.”

“Yippee!” enthused another viewer, as somebody else wrote: “Yesssssss!! Cannot wait – best programme!!”

Last year’s series of Race Across the World saw the teams departing from The Great Wall of China before journeying across China, Nepal and India to reach the finishing point of Kanniyakumari, the southernmost tip of India.

It was claimed by mother and son pairing Caroline and Tom, who secured the £20,000 prize after becoming the first duo to arrive at the final checkpoint.

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Race Across the World airs on the BBC.