week

THERE’S just a few weeks left where you can get FREE kids tickets for some of the UK’s top shows.

London Theatre’s Kids Week is running until August 31 where kids can go for free – ideal for school summer holiday fun.

Any child aged 17 or under will go free to the theatre when accompanied by an adult who pays for a full- price ticket and two additional children can then also attend for half price.

In total, there are 54 shows participating in Kids Week and here are some of the top offers remaining before the promotion ends:

Wicked

Wicked has been around in the West End for a while, but thanks to the recent Hollywood blockbuster adaptations, there is no better time to go and see Wicked on stage than now.

You can expect amazing visuals, memorable and heartfelt songs and a storyline that is great for both kids and adults.

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Travel Reporter Cyann Fielding said: “Wicked was the very first West End show I ever watched, and it did not disappoint.

“Not knowing what to expect from a West End show, Wicked blew me away.

“It has breathtaking sets, detailed costumes, emotional and inspiring songs and dramatic effects that will leave your mind blown.

“To date, it is still one of the best West End shows I’ve seen.”

Adult + child ticket costs from £46

The Tiger Who Came to Tea

Little kids will love The Tiger Who Came to Tea, adapted from the popular book of the same name.

You can expect songs and audience interaction throughout the show.

Adult + child ticket costs from £17.46

Six

Based on the six wives of Henry VIII but with a modern twist, Six The Musical is ideal if you love catchy songs.

The musical transforms the 500-year-old rhyme ‘divorced, beheaded, died, divorced, beheaded, survived’ into a competition about which of the wives deserves to be the group’s lead singer.

Adult + child ticket costs from £54.50

Matilda

Matilda is a great family option that will be loved by both kids and adults alike, with a powerful storyline about imagination andcourageg, and remains one of the capital’s most popular family shows for a reason.

Travel reporter Cyann Fielding, who recently saw the show, said: “I have to admit – while I loved Roald Dahl growing up, Matilda was not my favourite story of his.

“But any excuse to see one of his stories on stage, and I’ll be there.

“And now I take everything back – the stage show is better than the film and does the book justice, with an amazing stage set and catchy songs that will get your hips moving in your seat.

“The fact that most of the performers in this show are children just make it all the more impressive.

“Definitely will be loved by both parents and children alike.”

Adult + child ticket costs from £52.50

The Hunger Games

The Hunger Games: On Stage is one of the newer theatrical productions on this list.

The immersive show brings Suzanne Collins’ dystopian world to life, and you can expect special effects as well as aerial stunts.

Adult + child ticket costs from £36.88

Disney’s Hercules

You’ve not got long left to watch Hercules, as the West End production will end at the Theatre Royal Drury Lane on September 5.

Travel Reporter Alice Penwill said: “Zero to Hero, Go the Distance, I Won’t Say I’m in Love – I was hit with a wave of nostalgia when I went to see Hercules at Royal Drury Lane.

“The production of the Disney film has everything you want from a musical, fabulous dance routines, comedy, tragedy and a bit of cheese too.

“The highlight has to be The Muses, a group of five goddesses, and they have the voices of them too.

“Their incredible outfits dazzled with every number – and each time they took to the stage, they were met with rapturous applause.

“I’d go back purely to see them sing A Star is Born.”

Adult + child ticket costs from £41.66

Beetlejuice The Musical

Debuting earlier this year, Beetlejuice The Musical combines comedy with the storyline of Tim Burton‘s 1988 film.

You can expect a load of dark humour, neon sets and vibrant costumes.

Adult + child ticket costs from £40

Writer Olivia Sheed attended WorldPride Amsterdam just a week after Berlin Pride where a van drove into the crowd and hit several people

It had been a long day, but a good day. I was about to go to bed after a busy day celebrating Newcastle Pride, when I saw the news alert about the attack at Berlin Pride.

Just hours ago, I’d marched with my partner in my city and felt the joy the day brought with it. That joy was shattered when I heard the news that one person had died and 29 more were injured in a car ramming attack and subsequent stabbings.

I couldn’t quite believe it when I first read it, the terror the attendees must have felt, a day of celebration ruined by a cowardly act of violence, how to reconcile with what this could mean for Pride celebrations in years to come. Would they be scaled back to allow for increased security? Would people feel afraid to attend them in future? Would I feel fear the next time I went to Pride?

I asked myself these questions ahead of my upcoming visit to Amsterdam, where one week on from Berlin Pride, I’d be sitting along the canals of a major European city for World Pride and the famous canal parade. The Dutch city was chosen by Pride organisers to host this year’s WorldPride, as it marks 25 years since it hosted the world’s first legally recognised same-sex marriage.

However, given what had just happened in Berlin, I was aware that police and security in the city would be on high alert for another attack happening so soon after the last. This was corroborated by Mayor Femke Halsema, who said Amsterdam would take unspecified extra measures following the Berlin attack.

Despite the concerns I had, the opportunity to cover such a large event, with hundreds of thousands of people flocking to the city for the WorldPride celebration throughout July and August, was one I was so excited about. I still felt a giddy anticipation as I made my way there, but I felt a cloud hanging over me as I made my way through the streets of Amsterdam, despite the assurances of additional security.

However, if there was tension among other World Pride attendees, they didn’t let themselves show it. In the lead-up to the canal parade, people went about their lives in the city. Some partied, some enjoyed the quiet canal living can afford, and some just did their best to make the weeks of World Pride the best they could.

There was a special kind of atmosphere in the city that was different from other times I’d visited. Pride flags adorned every street you walked down, with the entire city lit in rainbow colours to welcome people from across the globe for one of the world’s largest Pride celebrations.

The flags were outside (and inside) businesses, apartments, public buildings – everywhere you looked you’d struggle to avoid a shock of rainbow. 50 major buildings arranged to light up in rainbow colours at night to literally light up the city once the sun set.

As Reform councils across the UK fight as hard as they can to get Pride flags off of public buildings, including the house of the first modern lesbian Anne Lister in West Yorkshire, it was dizzying in the best of ways seeing so many up in the streets. Each one felt like a welcome, a statement of defiance, and a call to celebrate all at once.

This continued to the day of the canal parade, where the increased security was met with open arms by participants. Police boats would make their way up and down the canals as the clock ticked down to the first floats reaching our viewing area, patrolling but still waving to the crowd as they settled into their respective seats.

Then, as the first floats began to make their way down our stretch of canal, I felt the weight that had been on my shoulders for the days leading up to the event ease. I had been so worried about something bad happening that I’d forgotten what being at Pride was meant to be.

Pride started as a protest, and for many, it still is. In a world where many people keep telling us that we can be queer if we don’t shove it in their face, where some don’t like queer people because we’re perceived as “different”, to a few who believe our existence should be met with violence, simply dancing in the sunshine is a protest in itself.

And that’s what people did. An estimated 300,000 people danced on the banks of Amsterdam’s famous canals, embraced their partner, and smiled with their friends. A week on from yet another dark day in queer history was met with a bright determination that the attempts to silence would only embolden.

Throughout the day, I could barely remember a time when I wasn’t smiling. The sun was shining, people were celebrating, we felt seen, we felt joy. When people ask what Pride is about, that to me is it. We felt joy, and we were unashamed to feel it.

Just a week after an attack that made waves through the whole LGBTQI+ community, I felt honoured to see how determined people were to show pride, show that we’ve always been here, and always will be.

• Olivia attended WorldPride Amsterdam 2026 with Booking.com and stayed at the Hotel Jakarta Amsterdam.
• Through its Travel Proud programme, Booking.com is helping make inclusive stays easier to find. Travellers can identify LGBTQ+ welcoming stays through the rainbow suitcase badge or ‘Travel Proud (LGBTQ+ friendly)’ filter on Booking.com.

During the Los Angeles mayoral primary, Spencer Pratt put out a video saying he was living in a trailer on the burned-out lot where his Pacific Palisades home once stood — a claim that was soon debunked by TMZ, which reported that he was actually staying at the Hotel Bel-Air.

While Pratt’s mayoral bid has come to a close, his campaign’s final spending on luxury hotels — including the Hotel Bel-Air — is now coming to light.

Pratt spent just under $71,000 on hotels for himself, his campaign staff and his fundraising operation, mostly at the Hotel Bel-Air and the Four Seasons Hotel in New York, according to recently released campaign finance filings in the mayoral race.

The former reality TV star has a history of lavish spending on hotels, according to his memoir, “The Guy You Loved to Hate,” where he recounts staying at the Four Seasons in Costa Rica for a month in 2010. He said the hotel stay was “bleeding him dry.”

The tens of thousands of dollars Pratt’s campaign spent on hotels represent just a fraction of the more than $3 million Pratt’s campaign spent overall, including hundreds of thousands to campaign strategy firms and more than $200,000 to the company Black Llama Inc. for billboards. Pratt had AI-designed billboards placed across the city.

Pratt also spent more than $180,000 on private security firm Delta Special Operations Corp., almost entirely in the final month before the June 3 primary.

Delta Special Operations charges $650 per day to provide a single security officer in Los Angeles, but also offers a higher level of “executive protection.” Pratt has said he faced threats during his candidacy.

Pratt placed third in the primary, behind Councilmember Nithya Raman and L.A. Mayor Karen Bass, who will square off in the Nov. 3 general election. Raman’s campaign reported spending about $1,000 on security, while Bass has security provided by the city.

Building out her support

Raman secured what could be one of her most significant endorsements of the entire election cycle this week, pulling in the support of the Western States Regional Council of Carpenters.

The endorsement from the carpenters union marks a sharp turn for the labor group, which backed Bass in 2022. The union committed more than $2 million to independent expenditure groups supporting Bass’ candidacy in 2022, paying for television ads that ran in advance of the general election.

During the primary, Raman and independent group supporting her focused on ads on social media and streaming platforms, which are cheaper than traditional television ads.

“We will be matching the same energy and we’ll have same type of commitment as when we endorsed Bass. We don’t plan on holding back,” said Pete Rodriguez, the second general vice president of the international union.

Rodriguez said the union would spend significantly to support Raman, though he did not give a figure.

Bass has dominated labor endorsements throughout the campaign. She has secured more than two dozen endorsements from influential labor unions including the Police Protective League, which represents rank and file police officers in the LAPD, and SEIU 721, which represents public sector workers at the airport and in street services, among other departments. She also has the backing of the powerful Los Angeles Federation of Labor, a coalition of unions (Bass calls its leader, Yvonne Wheeler, “The Beyoncé of Labor”).

“Workers are overwhelmingly behind Karen Bass … because she delivers real results,” said the mayor’s campaign spokesperson, Alex Stack. “Results like building more affordable housing immediately to drive down rents, mortgages, and the cost of housing.”

Rodriguez said one major issue that caused the carpenters union to break with Bass was the mayor’s failure to include higher labor standards in the codified version of Executive Directive 1, which fast-tracked some affordable housing applications.

That law was passed by the council and Raman voted in favor of the law that codified the mayor’s directive.

Raman told The Times in a statement that she stood by her vote, but that she appreciated the union’s ability to work with legislators to enact legislation that “combines density with higher labor standards.”

The DSA endorsement …

Raman could get another key and much-discussed endorsement later this month.

The Los Angeles chapter of the Democratic Socialists of America is once again considering endorsing her for mayor. The endorsement would bring doorknockers for Raman and could bring more national attention to the race.

An internal petition shared with The Times is circulating in the group and needs just 50 signatures by Aug. 8 in order for the consideration of Raman to go to a vote. Raman would then need 60% of the vote at an Aug. 22 chapter meeting in order to win the endorsement.

“Nithya Raman is running an insurgent left-wing campaign for the mayor’s office against Karen Bass and L.A.’s unpopular status quo Democratic establishment,” the petition reads. “Will an insurgent Left seize control of our city government to build a Los Angeles for its working class? Or will the establishment fend off this insurgency and deepen its power?”

After jumping into the race on the last possible day in February, Raman was not endorsed by the left-wing organization in the primary. The group instead “recommended” her — a status that means the DSA wouldn’t actively campaign on her behalf but urged voters to cast their ballots for Raman.

Raman was endorsed by the group in both her council campaigns, but her late entry came after DSA had made its endorsements.

The group considered reopening its endorsement process for either Raman or Rae Huang — who like Raman is a member of the DSA — but ultimately decided to focus on other down ballot races in the primary.

DSA-LA declined to say whether the petition had gained the requisite number of signatures for a vote.

State of play

— LINEAGE LEGISLATION: Los Angeles city and county officials unveiled a slate of measures aimed at speeding recovery, increasing corporate accountability and expanding financial assistance for residents and businesses affected by the June fire at the Lineage cold food storage facility.

— PRICED OUT: Councilmember Curren Price’s motion to get his perjury and embezzlement case dropped was denied Friday by a Los Angeles Superior Court judge. Price’s lawyers maintain that he did not knowingly vote on city contracts for real estate developers that contracted with his wife. The judge argued there was “ample evidence, albeit circumstantial, that this was a scheme and not just happenstance.” The outgoing council member’s next court date is set for October.

— E-BIKES UNDER FIRE: The council’s Rules Committee passed a motion Tuesday that asks the city’s Department of Transportation to come up with ways to regulate e-bikes, including who can ride them and how. The measure next goes to the ways to regulate e-bikesPublic Safety Committee, then the full City Council.

— A NEW ERA: For the first time since 1963, Council District 9 in South Los Angeles will soon have a non-Black representative in the City Council. Estuardo Mazariegos and Jose Ugarte, who are facing each other in the Nov. 3 election to represent parts of downtown and South Los Angeles, are both immigrants from Latin America who arrived undocumented as children.

— OFF THE RAILS: Homelessness on Metro’s rail and bus system has dropped by 57% since 2024, the agency said this week.

— A ROSE AND A THORN: The Rose Bowl Aquatics Center will close April 1, and not be returned to its regular users until the fall of 2028, after the conclusion of the Olympic Games. The announcement came after The Times reported on the impending shutdown.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program went to the intersection of Alameda Street and E. 223rd Street in City Councilmember Tim McOsker’s district where it brought 22 people indoors.
• On the docket next week: The City Council will vote on whether to execute the Enhanced City Resources Master Agreement for the 2028 Olympic and Paralympic Games.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

This week’s caption reads:

U.S. Marines with 3d Reconnaissance Battalion, 3d Marine Division patrol through an underground tunnel in support of offensive operations during the Korean Marine Exercise Program 25.1 at Camp Stanley, South Korea, March 10, 2025. KMEP is a semi-annual exercise that provides iterative opportunities for Republic of Korea Marine Corps and U.S. Marine Corps units to train together, improving their combined capabilities to deter threats and maintain peace on the Korean Peninsula. (U.S. Marine Corps photo by Lance Cpl. Kendrick Jackson) 

PRIME DIRECTIVES:

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

As the country fixates on the sad saga of the ruined Lincoln Memorial Reflecting Pool in Washington, D.C., the Trump administration’s plans to build a 250-foot arch at the western terminus of Memorial Bridge have marched forward.

The project received final design approval in late May from the Trump-appointed U.S. Commission of Fine Arts. The problem with that, critics quickly pointed out, was that this approval occurred before a key part of the National Historic Preservation Act — Section 106 — was initiated.

For background: President Lyndon B. Johnson signed NHPA into law in 1966 during an era of rampant unregulated building in order to protect the country’s shared cultural heritage. Section 106, which the Trump administration has been trying to gut, allows for a period of public comment about proposed projects in advance of their approval. This gives time for reasonable concerns to be raised and for pivots in design and siting to take place accordingly.

In a letter submitted to the National Park Service on Thursday by the nonprofit Cultural Landscape Foundation (TCLF) as part of the federal-level reviews of the Triumphal Arch under Section 106, the group’s founding president and chief executive, Charles Birnbaum, called the chain of events leading to the arch’s approval a “radical departure from a well-established series of processes that have made the Monumental Core a global paragon of civic art, landscape architecture, architecture, and planning.”

Birnbaum, who served as coordinator of the Historic Landscape Initiative at the NPS from 1992 to 2007, also noted, “The process for the selection and siting of the Triumphal Arch has been horrifically flawed from the outset. Remarkably, there was no design competition, which is a dangerous and radical decision for what would be the second largest monument in the Monumental Core after the Washington Monument.”

The letter was sent several days after the NPS released a preliminary assessment that found the arch could have significant adverse effects on the historic structures around it. Birnbaum and TCLF, however, worry — based on linguistic hedging in NPS correspondence — that a final “adverse effect determination” will not be made, thus depriving concerned parties of the ability to continue to advocate against the project.

“Given the extensive documentation of adverse effects in the preliminary finding, the suggestion that any uncertainty exists about the final determination is both confounding and alarming,” Birnbaum wrote.

During his tenure at NPS, Birnbaum was the lead author of “The Guidelines for the Treatment of Cultural Landscapes,” which includes a section on “Spatial Organization and Land Patterns,” which, he writes in the letter, “is clear about what is and is not recommended.”

“Identifying, retaining and preserving the existing spatial organization and land patterns of the landscape as they have over time,” is recommended, for example, while, “Allowing spatial organization and land patterns to be altered through incompatible development or neglect,” is not.

“A 250-foot-tall arch in Memorial Circle sited between the Lincoln Memorial and Arlington National Cemetery and Arlington House and in the Monumental Core is undeniably incompatible development,” Birnbaum wrote, noting that any new development is stipulated to be in agreement with the cultural landscape guidelines. “The Arch as proposed will not be consistent with the Guidelines and any certification otherwise would not only be factually baseless (in short, a lie), but declaring so would be unprofessional, fraudulent, and, perhaps, illegal.”

Strong words that may very well fall on closed ears, if recent history is any guide. Nonetheless, the resistance forges ahead.

I’m arts editor Jessica Gelt, building an arch to future goodness. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Judy Collins performs at the Ryman Auditorium in Nashville in 2025.

(Jason Kempin / Getty Images)

Judy Collins: Sweet Judy Blue Eyes Farewell Tour
The singer-songwriter-musician with the lilting voice and eclectic catalog is joined by Bruce Cockburn for an evening of folk-infused heartfelt songs.
8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

Versa-Style Street Dance Company
The troupe marks its 20th anniversary with “Box of Hope” (2nd Edition), a multidisciplinary program featuring West Coast Hip Hop and Street Dance Styles.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SATURDAY

Betty Boop’s Birthday Bash for a Cause
Kate Micucci hosts an evening of live music — headlined by indie-pop group Dressy Bessy and Allison Wolfe of Bratmobile — animation, comedy, pop-culture nostalgia and the Bob Baker Marionettes to benefit the nonprofits organizations the Birthday Party Project and Saturday Morning Cartoons United.
6:30 p.m. Alex Theatre, 216 N. Brand Blvd., Glendale. thealex.evnsong.com

The Improvised Shakespeare Company
The troupe takes a single audience suggestion and spontaneously turns it into a full-blown Elizabethan-style comedy that could (possibly) make the Bard himself wish he had written it.
8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

The Complete History of American Musical Theater: The 1950s
An evening of theatrical history, storytelling and live performances revisits the Golden Age of the American musical, featuring such classics as “Guys and Dolls,” “The King and I,” “My Fair Lady,” “West Side Story” and “The Music Man.” With Eileen Barnett, Camryn Hamm, Scott Harlan, Hayden Kharrazi, Tony nominee Mary Gordon Murray and Tony nominee Rory O’Malley. Narrated by Dan Fishbach and Mark D. Kaufmann. Produced by the Odyssey Theatre and the Los Angeles Musical Theatre Studio.
8 p.m. Odyssey Ensemble Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com

James Morris, from left, Christopher Reiling and Jasmine Kimiko in the play “Slava Ukraini! (or Waiting for Elon).”

(Deverill Weeks)

Slava Ukraini! (or Waiting for Elon)
A Few Thoughts Theatre Company presents a new play by Keith Szarabajka about three soldiers — two Ukrainian and one Russian — trapped together during the siege of Mariupol. Directed by Tony Pasqualini.
8 p.m. Fridays, Saturdays and Mondays; 3 p.m. Sundays through Aug. 31. (no performances Aug. 16, 17) . Atwater Village, 3269 Casitas Ave., Theater #3, Los Angeles afewthoughtstheatercompany.org

SUNDAY

Jazz keyboardist Carey Frank.

(Courtesy of the artist)

Carey Frank Organ Trio
Joined by guitarist Nadav Peled and drummer Jake Reed, the jazz keyboardist powers a contemporary take on jazz, swing, blues and soul.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Summertime! with Bob Baker Marionettes and Kate Micucci
The marionettes and Micucci have a busy weekend, going from Betty Boop at the Alex to celebrating all things sunny and funny at the Ford.
The Ford, 2580 Cahuenga Blvd. East. theford.com

TUESDAY

Mozart Under the Stars
A pair of celebrated Canadians, conductor Nicolas Ellis and pianist Angela Hewitt, join the Los Angeles Chamber Orchestra for their Mozartian summer tradition.
8 p.m. Hollywood Bowl, 2301 N Highland Ave., Hollywood. hollywoodbowl.com

WEDNESDAY

Giselle, the chandelier set piece that travels with the North American tour of “Phantom of the Opera,” photographed the Hollywood Pantages Theatre in July.

(Ariana Drehsler / For The Times)

Phantom of the Opera
The new North American touring production of Andrew Lloyd Webber’s hit musical, featuring Maria Björnson’s original design — including a really big chandelier — and based on the direction of Harold Prince, with musical staging and choreography by Gillian Lynne, shifts to Orange County.
Through Aug. 30. Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org/events

Stanley Jordan Trio
The virtuoso jazz guitarist is joined by drummer Chris Wabich and bassist Ahmet Turkmenoglu.
7 and 9:30 p.m. Blue Note Los Angeles, 6372 Sunset Blvd. bluenotejazz.com

THURSDAY

Michael Douglas and Glenn Close in “Fatal Attraction” directed by Adrian Lyne in 1987.

(Sunset Boulevard / Corbis via Getty Images)

A Weekend With Adrian Lyne
The director known for his sleek, erotic thrillers will be on hand for screenings of “Fatal Attraction” (1987) and “Unfaithful” (2002) at the Academy Museum and the theatrical premiere of “Deep Water” (2022), starring Ana de Armas and Ben Affleck, at Brain Dead Studios.
7:30 p.m. Thursday (“Fatal Attraction”) and Friday (“Unfaithful”). Academy Museum, 6067 Wilshire Blvd. academymuseum.org 7:30 p.m. Saturday (“Deep Water”). Brain Dead Studios, 611 N. Fairfax Ave. studios.wearebraindead.com

Helado Tropical
The night will be full of Latin beats, rhythms and experimental sounds as Helado Negro and Reyna Tropical team up following the recent release of their nine-song collaborative album.
8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

— Kevin Crust

Retrospective

L.A. Times arts coverage from the past …

Ballet dancers Rochelle Chang, Emily Parker and Raffaella Stroik rehearse a new work by choreographer Lincoln Jones, background, in 2016.

(Mel Melcon / Los Angeles Times)

How a new dance gets made: Behind the scenes at American Contemporary Ballet
Aug. 7, 2016

Emily Parker stood still on pointe. Arms spread like wings, she fixed her gaze somewhere in the distance. Dancers spun around her like ribbons in a breeze. A bend, a twist, a slide of foot, a flutter of light. On and on, with no music, only the tap, tap, tap of toe shoes and the sound of texting from those stretching and waiting in the wings.

Parker relaxed her pose. The other dancers flitted toward windows. Choreographer Lincoln Jones walked among them, hand to chin, thinking, and at times twirling alone as if chasing whispers. The afternoon pressed in. He called a break and headed for a laptop. Dancers from American Contemporary Ballet, which on Aug. 11 [2016] will perform an original work by Jones, dispersed in the studio heat.

A ballet troupe is a small army of fine lines and grace. Some dancers have been with the company for years, others like Parker are new, finding their places amid mats, bags, tape, calluses, balm, egos, sore backs, battered toes and torn tights. They are led by Jones, a dark-haired man who between smiles and asides moves with quiet intensity. His new production for the company’s “Music + Dance: LA II” series was inspired by 19th century French composer Adolphe Adam and set amid a countryside, a lake and a wedding. READ MORE

— Jeffrey Fleishman

Culture news and the SoCal scene

The Boyle Heights side of 6th Street PARC underneath the 6th Street Viaduct.

(Carlin Stiehl / For The Times)

As the once heralded, now neglected 6th Street Bridge continues its precipitous decline, a new park is being built beneath it that supporters hope could uplift the neighboring community of Boyle Heights and help renew the bridge in the process. Called Sixth Street PARC and scheduled to open later this year, the 12-acre green space is meant to serve as a vital community hub connecting downtown’s Arts District with the Eastside neighborhood. It will take more than good intentions to make that plan work, Sam Lubell writes in a detailed story about the project.

Times classical music critic Mark Swed is currently in Austria, taking in the many wonders of the annual Salzburg Festival. Among them: Gustavo Dudamel leading Mahler’s “Resurrection” symphony with the Vienna Philharmonic. “In Salzburg, Dudamel indulged the Vienna Philharmonic’s incomparable lushness, those plush strings, glowing winds, golden brass, voluminous timpani. The symphony received mixed reviews, with critics complaining of a lack of transparency, argument and depth. Had they been in Disney Hall, they would have had it all,” Swed writes.

The D.C.-based anonymous arts activist group Secret Handshake is taking its satirical work on tour. The group recently started an Instagram page to chart the journey of a 10-foot golden cup dedicated to Trump, “The Iran War Participation Trophy.” The trophy went to New York City after appearing late last month on the National Mall. This week it popped up on the lawn of the Capitol Building in St. Paul, Minn. Other cities will follow, Secret Handshake promises.

Dorothy Wolpert, board chair of the Fountain Theatre for 12 has died. She was 91.

(Fountain Theatre)

The Fountain Theatre is mourning the death of Dorothy Wolpert, who served as the theater’s board chair for 12 years. She was 91. Wolpert was deeply involved in the life of the city through her love and support of the arts as well as in her professional life. As the co-founder of Bird Marella, a Century City law firm, Wolpert was involved in cases that advanced equity and social justice, including the landmark school desegregation case Crawford v. Los Angeles Board of Education. She also used her legal expertise in the fight against human trafficking.

Wolpert received UCLA Law’s Trailblazers Lifetime Achievement Award and the ACLU Humanitarian Award, and in 2022 UCLA Law established the Dorothy and Stanley Wolpert Public Interest Fellowship in her honor.

Wolpert became the Fountain’s board chair in 2013, and served until 2025. In an email, the Fountain’s co-founder Stephen Sachs wrote that Wolpert was “instrumental in expanding [the Fountain’s] board, strengthening its leadership, and raising its national profile. She was also a generous supporter of numerous LA arts organizations and a devoted patron of LA Opera.”

“On a personal level, Dorothy was my trusted mentor and confidant. Whenever I faced a difficult decision, she was the person I turned to first. She had a remarkable gift for asking exactly the right question. Her wisdom shaped not only the Fountain, but many of us fortunate enough to know her,” Sachs wrote.

— Jessica Gelt

And last but not least

Here are 18 things you should do if you can afford to go to Carmel-by-the-Sea.

CHICAGO — The boo birds were active at Wrigley Field this week, as the Dodgers were swept by the Cubs in a three-game series.

The vitriol for the World Series favorites, days after they traded for the best player available at the deadline (two-time CY Young winner Tarik Skubal) touched almost every player in the Dodgers lineup. But Cubs fans’ boos were by far the most enthusiastic for the right fielder who’d departed their team in free agency this past winter.

Kyle Tucker, for his part, dodged the first question that mentioned the hostile reception he received in his first series back at Wrigley Field since signing a four-year, $240 million contract with the Dodgers over the offseason.

“I liked playing here last year,” Tucker said after the game Monday. “There were some really great guys over there, and they have a good team. So it’s nice being back and playing here. I liked it.”

When pressed on whether he understood the boos, Tucker said: “I don’t know. I tried my hardest last year. I tried playing through a hand fracture and calf thing, just trying to get back to the playoffs for them and trying to do what I could to help out the team last year with them. Hit really well in the first half, and second half didn’t go as great, and kind of didn’t end up great at the end of the year. But I had a good run.”

Let’s unpack that.

This year, Dodgers fans have mostly seen a version of Tucker who’s on pace for one of the worst offensive seasons in the four-time All-Star’s career. But when the Cubs landed Tucker in a blockbuster trade with the Astros before the 2025 season, hoping he’d elevate their offense, he did just that for the first three months of the season.

His best month was June (.982), when, unbeknownst to the public, he was playing through a small fracture in his right hand.

Not being able to grip the bat properly eventually took a toll on his swing mechanics, sending him into an extended slump. When he finally seemed to be coming out of it in late August, a left calf injury sidelined him in early September.

When the injury lingered far longer than initially expected, hoping to return in time to contribute in the postseason, Tucker made the unorthodox decision to travel to Tampa to work with the physical therapy group that helped him recover from a fractured shin the year before.

Unable to completely eradicate the symptoms of his strained calf, Tucker returned to the Cubs lineup as the designated hitter the last weekend of the regular season and through the playoffs, where he went 7-for-27 with a home run in Game 4 of the NLDS.

Through the ups and downs of the season, Tucker still came out of it with a 2025 Silver Slugger award. He had the second-highest OPS on the team (.841) among players with at least 100 plate appearances, behind former Dodger Michael Busch (.866).

In response to Tucker’s comments Monday, Cubs fans on social media said they were upset with Tucker for playing through his hand injury, and for leaving the team to address his calf injury — which seemed to set up a no-win situation for his relationship with the fan base.

Tucker’s union with the Cubs was always expected to be short term. That was always the case from the moment they acquired him one season away from what was projected to be a lucrative free agency. Nothing had changed by the last out of the team’s 2025 season, as they fell one win shy of meeting the Dodgers in the National League Championship Series.

With the Dodgers, Tucker has yet to put together a real hot streak at the plate. He’s hit far better in away games (.828 OPS) than at home (.601) this year.

On the road again, Tucker went 5-for-11 in three games against the Cubs this week — perhaps a sign of good things to come, in a season full of false starts.

“Just working every single day, just trying to be consistent with my work and what I do in the cage and everything and trying to translate it out onto the field,” he said Monday. “Felt pretty good today. Had good at-bats the past couple days and stuff. So just trying to continue that moving forward into tomorrow’s game and so forth.”

His biggest moment of the series came Tuesday. In his first at-bat of the game, he lifted a solo home run into the left-field bleachers and trotted around the bases to a chorus of boos.

It was the Dodgers’ only run of the game.

One day after a LIV Golf players-only meeting failed to produce a resolution, CEO Scott O’Neil announced Wednesday that a lead investor plans to fund the tour beyond this season and that the golfers will become the majority equity holders in the league.

The LIV Golf board of directors approved the term sheet, O’Neill said, giving the league new life after the Saudi Public Investment Fund decided in April to cease its financial backing at the end of the current season. The PIF had backed LIV Golf since its inception in 2022, spending an estimated $6 billion.

O’Neil, who made the announcement at Trump National Golf Club in Bedminster, N.J., the site of this week’s tournament, did not identify the investor or terms. He said the league hopes to finalize the transaction in September and that “our next chapter will make our players the majority equity holders in LIV Golf, a first for a major global sports league.”

“LIV Golf has an agreement in place with a lead investor, signed by the investor and approved by the board, to anchor the transaction and play a key role in supporting the path forward for the league’s next era, driven by and for the players,” O’Neil said in a statement. “We’re also seeing strong interest from more than a dozen additional parties to potentially serve as minority investors, creating a multi-partner model built for long-term stability and growth.”

The players-only meeting on Tuesday at Trump National came soon after O’Neil and other LIV Golf executives spoke to the players. The only player to speak at length with the media after the meeting was Richard Bland, who told the Athletic that Bryson DeChambeau had led the discussion to follow O’Neil’s lead, but that nothing definitive had been determined.

“We’re in this together. We’re fully backing Scott,” Bland said. “I think probably in the next two to three weeks we’ll have a bigger picture. We’re just in that kind of stage at the minute that we’re positive with what’s going on, but we just need everything to be fully signed off so you can go forward.”

O’Neil said in June that LIV Golf needed to secure roughly $300 million from outside private equity or institutional investors to sustain operations through 2027 and beyond. He has been pitching “LIV 2.0” with a streamlined business model.

“What we don’t have is a lot of time,” he said in June. “So we’re very urgently out there talking to those who are interested. We like the pool, but we have to get this done through the summer.”

It appears O’Neil might have met the deadline, although questions remain unanswered. LIV has been mulling whether to cancel its Team Championship on Aug. 27-30 at the Cardinal in Plymouth, Mich., the final tournament of the season. The purse is $40 million, cash that instead could be earmarked for 2027.

O’Neil said that making players the majority equity holders “gives the league the foundation to keep growing the game worldwide…. In the meantime, our focus is on delivering a great week for fans and players at Bedminster and finishing the 2026 season strong.’’

For all but one of the past 58 years, horse racing’s Triple Crown arrived at the same time on the calendar. The Kentucky Derby was run on the first Saturday in May, followed two weeks later by the Preakness and three weeks after that by the Belmont.

Three races for 3-year-olds in five weeks. Win them all and enter racing’s pantheon.

Those last two sentences remain true. But after 48 hours of upheaval this week, the times — and in particular the calendar — are changing. (The only exception since 1969 came in the pandemic year of 2020 when two of the three races were held in September.)

On Monday, Churchill Downs Inc. and the New York Racing Assn., which host the Derby and Belmont, respectively, announced a new six-race series for 3-year-olds that includes those two races on their traditional dates, but not the Preakness. The Thoroughbred Championship Series will feature a points system, with horses who compete in at least four races eligible to share a $5-million bonus pool that will pay down to the top eight finishers.

Then on Wednesday, the Maryland Jockey Club announced the Preakness would be moved back eight days, to the fourth Sunday in May. That date usually falls on Memorial Day weekend, though 2027 is an exception.

The goal is to get more Derby horses to run in the Preakness after more than 85% of the entrants in the last five years, including three winners — Rich Strike (2022), Sovereignty (2025) and Golden Tempo (2026) — skipped the Maryland race. Their trainers cited the short turnaround between the two events; very few horses these days compete in races two weeks apart.

“This extra week between the Kentucky Derby and the Preakness opens the Preakness to potential participants who use modern training methods,” said Bill Knauf, president and general manager of the Maryland Jockey Club.

“I think it’s a great idea,” Bob Baffert, the only trainer to win the Triple Crown since 1978, with American Pharoah (2015) and Justify (2018), said via text message. “Extra week and on a Sunday. Triple Crown tradition stays intact. Win-win for all because you have a choice to go for it if you think you have the right horse after winning the Derby.”

Baffert had said in a post Monday on X that the “greatest achievement in racing will always be winning the Triple Crown.”

But if horses were skipping the Preakness because of a 14-day turnaround, how many will run a week later knowing it’s just 13 days before the Belmont, especially since the latter race is part of the new series?

This year, no horse competed in all three races. Last year, there was one: Journalism, who sandwiched a win in the Preakness around runner-up finishes in the Derby and Belmont.

“As a traditionalist, sentimentally it’s difficult to see the timing and structure of the Triple Crown being adjusted,” Aron Wellman, president of Eclipse Thoroughbred Partners, which co-owns Journalism, said in a phone interview. “However, as a proponent of innovation and recognizing that the industry at large has fallen behind the times in so many respects, I applaud the innovation of Churchill Downs Inc. and NYRA.”

Did those outfits just put a dagger in the Triple Crown?

“I don’t know how much more of a dagger Churchill and NYRA should be blamed for putting into the Triple Crown when in the last two years, the winner of the Kentucky Derby has skipped the Preakness and waited for the Belmont,” Wellman said.

He also noted that Churchill Downs made an $85-million offer this spring to purchase the intellectual property rights to the Preakness, but the state of Maryland matched it.

“If anything, Churchill’s move to secure the IP [intellectual property rights] for the Preakness was a gesture on their part to try to save the Triple Crown because the daggers have already proven, if not fatal, then close to it,” Wellman said.

“So I don’t place any blame on Churchill and NYRA for the steady decline or demise of the Triple Crown. … And now knowing that they [can’t] institute whatever changes they were going to make, they’ve taken it upon themselves to try to do something positive for the industry and their respective brands. Which I applaud them for.”

The other races in the new series are the Matt Winn Stakes in July at Churchill Downs, the Jim Dandy in late July or early August at Saratoga, the Travers in late August at Saratoga, and a new “championship race” that will be scheduled in September at Churchill. Each race will have a minimum purse of $1 million (the Derby is worth $5 million; the Belmont and Preakness $2 million each).

NBC will televise the Churchill races, with Fox handling those in New York. NBC also announced a new deal to carry the Preakness through 2032, the same year its rights to the Derby expire.

Welsh Fire captain Phil Salt would ideally like The Hundred to be a week longer after his side played three matches in five days.

His second-placed side won at Birmingham Phoenix on Saturday afternoon and defeated Southern Brave in Cardiff on Monday evening, before losing to Manchester Super Giants on Wednesday afternoon.

“It’s been a little bit hectic the last few days,” Salt told BBC Sport.

“Birmingham, back to Cardiff, up here. It’s a lot to be honest with you in five days and managing bodies through.

“From a player’s point of view I’d like this competition to be probably a week longer.”

The Hundred group stage takes place over 23 days with teams playing eight games in that period.

In comparison, Indian Premier League sides each play 14 group games in a 56-day period, while in last season’s men’s Big Bash League in Australia teams played 10 group games each in a 36-day window.

Since its introduction in 2021, The Hundred has further complicated a packed English summer schedule, with the Professional Cricketers Association (PCA) continuing to raise concerns about the impact on player welfare.

In their response to the 2026 schedule, which saw the T20 Blast reduced by two matches, PCA chief executive Daryl Mitchell said, external the unchanged County Championship season “does raise concerns with player burnout with mental and physical dangers attached to an overly intense end to the season following the conclusion of The Hundred”.

Salt acknowledged the difficulties of finding more time in the schedule, while noting the impact the current scheduling had on his squad.

“We import the best stars in the game for this. We’ve got on our side [the 6ft 8in tall] Marco Jansen and Lockie Ferguson,” he added.

“They’ve done a lot of time on the bus in the last three days! A bus that’s not built for lads that size.

“I’d like a bit more time in between to be honest with you, but I understand we’re working with a pretty tight schedule already as it is.

“I’m not the man for the answer on the schedule, I just like to magic another week of the year somewhere!”

Welsh Fire return to action at Headingley on Sunday (14:30 BST) against Sunrisers Leeds, before playing their final group game at home to London Spirit next Wednesday.

The NHS GP and TV doctor shared advice in an episode of his No Appointment Necessary podcast

NHS GP and TV doctor, Dr Amir Khan, has recommended that holidaymakers start taking a tablet daily one week before their departure date. The health expert offered the advice to help people tackle a common problem many face while on holiday.

The GP suggests taking the tablets to help reduce the common issue of irritation from mosquito bites. While Brits often complain about the insects during the summer population boom, they are even more common in mainland Europe, much to the frustration of holidaymakers.

Thankfully, Dr Khan has shared advice that could help anyone visiting a country where bites are likely. The NHS doctor and TV personality offered the tip during a recent episode of the No Appointment Necessary podcast. Dr Khan, who is a co-host of the show, revealed he swears by the method himself.

The doctor clarified that the trick does not prevent bites, but it can help to reduce irritation. He told viewers: “How do we protect ourselves against insect bites?

“This won’t avoid you getting bitten, but it will help you reduce all that irritation and redness. Start taking a daily antihistamine a week before you go on holiday. I do that now, and it has changed my reaction to mosquito bites.

“They’re not as bad as they were, and I’m not like just miserably itchy on holidays. So every day for a week beforehand.” He added: “Antihistamines a week before you go on holiday, and while you’re out there as well, because your whole point is managing your overimmune response, and antihistamines will help do that.”

The advice proved popular with social media users when a clip from the podcast was shared on Instagram. The video gained over 4k likes. Replying to the post, a commenter said: “True fact as we did before going to Sri Lanka last year and what a difference!!”

A similar reply said: “I’ve been doing this for a while and it works.” Another response read: “Did this going to Thailand last year and it worked a treat.” However, there were also some commenters who said they had tried the tip before without noticing a difference.

The NHS says you should speak to a pharmacist or GP before taking antihistamines if you’re already taking other medicines. It’s also important to follow the directions when taking antihistamines.

The NHS website explains: “Antihistamines are medicines often used to relieve symptoms of allergies, such as hay fever, hives, conjunctivitis and reactions to insect bites or stings.

“They’re also sometimes used to prevent motion sickness, to treat feeling sick (nausea) or being sick (vomiting), and as a short-term treatment for insomnia. Most antihistamines can be bought from pharmacies and shops, but some are only available on prescription.”

“Spider-Man: Brand New Day” opened to $360 million in the U.S. and Canada this weekend, pushing out 2019’s “Avengers: Endgame” to claim the biggest domestic debut in history.

“Records are made to be broken,” Sony Motion Picture Group Chairman Tom Rothman said in a statement Monday. “But we will take great pride in this one, for as long as we hold it.”

Internationally, the web-slinger picked up an additional $572 million for a worldwide total of $932 million. The film, which stars Tom Holland and Zendaya, was produced by Sony-owned Columbia Pictures, Marvel Studios and Pascal Pictures on a production budget of about $225 million.

By Monday morning, nearly everyone in the exhibition business was cheering.

The chief executives of AMC Entertainment Holdings, Regal and Cinemark Holdings all put out statements about record revenue at their chains, plus deep demand for merchandise, food and drinks. Cinema United trade group chief executive Michael O’Leary applauded the “great slate of films” that have populated theaters this year.

There’s a lot to be excited about here. Expectations for the film were high, but breaking a pre-pandemic record — previously held by an “Avengers” movie, no less — is a big deal.

“The buildup to what ‘Endgame’ was at $357 million just seemed out of reach,” Jeff Bock, senior box office analyst at entertainment data firm Exhibitor Relations, told me on Monday, referring to the previous domestic debut record. “It’s pretty gratifying to see that characters and emotions still matter in filmmaking. This movie was just really about relationships.”

That emotional core was a major focus for the filmmakers. When I spoke with producer Amy Pascal in the lead-up to the opening, she said there was no topping the multiverse storyline of 2021‘s “Spider-Man: No Way Home,” which featured the return of Tobey Maguire and Andrew Garfield. Instead, the filmmakers chose to go smaller, focusing on the internal conflict and loneliness of Holland’s Peter Parker after a spell forces his friends to forget him.

Spider-Man has always been one of the most popular superheroes. But not every Spidey film has had this level of box office success. What “Brand New Day” shows is that a strong story matters more to audiences than the name of the superhero alone — an important distinction as the genre has weathered an uneven track record in recent years. Just this summer, we saw stumbles from Amazon MGM Studios’ “Masters of the Universe” and Warner Bros. Pictures and DC Studios’ “Supergirl.”

The next test arrives in December with Walt Disney Co. and Marvel Studios’ “Avengers: Doomsday,” which “Brand New Day” teases in a post-credits scene, as well as throughout the film. “As audiences saw, it sets up exciting things to come,” Marvel Studios President and “Spider-Man” producer Kevin Feige said in a Sunday statement.

The recovery, by the numbers

Domestic box office revenue for the weekend totaled $436.5 million, according to data from Rentrak. Spider-Man accounted for 82% of it, but Christopher Nolan’s “The Odyssey” also hauled in $51 million in its third weekend, on its way to worldwide revenue of more than $912 million.

Together, the pair have combined for a unique, and telling, one-two punch. It’s the same phenomenon that drove moviegoers to A24’s “Backrooms” and Focus Features’ “Obsession.” Originality in storytelling really does matter, despite the plethora of reboots and sequels. And when moviegoers have more choices, they’re coming back, again and again, analysts say.

“These two films in particular have really turned moviegoing itself into the event,” Bock said. “The audience isn’t rejecting theatrical movies. They’re rejecting films that don’t feel essential.”

Domestic summer box office revenue to date now stands at nearly $3.6 billion, up 16.7% compared to 2025 and — importantly — only 0.7% behind the same period in 2019. Year-to-date revenue is about $6.2 billion, a 15.4% improvement from last year, though it still lags 2019 by 11.6%.

And with another blockbuster to come in December — Warner Bros. and Legendary Entertainment’s “Dune: Part Three” — analysts now predict 2026 domestic revenue is on track to reach $10 billion, a milestone that hasn’t happened since before the pandemic.

What could undo it

Here’s the catch. A major part of that recovery rests on volume: more titles, more genres, more reasons to leave the house on a given weekend. Which is exactly what a federal judge in Oakland is weighing right now.

Paramount Skydance’s nearly $111-billion acquisition of Warner Bros. Discovery has cleared the Justice Department, the European Commission and regulators in more than a dozen other countries. What it has not cleared is a coalition of 12 state attorneys general, led by California’s Rob Bonta, who sued July 13 to block the deal under the Clayton Antitrust Act.

On Friday, the parties each proposed their preferred dates for an antitrust trial over which U.S. District Judge Araceli Martínez-Olguín will preside as Paramount argues for its merger to proceed and the state attorneys general argue against it. The judge has said the states had presented compelling evidence the combined company would hold a substantial share of the wide-release theatrical distribution market — enough, she said, to presume the deal likely violates antitrust law. The Writers Guild of America has joined the states’ lawsuit.

Paramount has said the merger will benefit consumers, workers and the entertainment industry, and that the states’ claims of anticompetitive effects “are without any basis in modern market realities.”

Hollywood has seen this movie before. The last unaccounted-for variable from the pre-pandemic era is Disney’s 2019 acquisition of the entertainment assets of 21st Century Fox, which combined two studios and led to fewer theatrical releases.

Paramount Skydance chief executive David Ellison has promised the combined company will release a minimum of 30 films a year. Many in Hollywood have their doubts.

“If they’re able to execute on that promise of 30 titles a year, I think we’re going to accelerate even further,” said Daniel Loria, a senior vice president at The Box Office Co. “We’re on a great trajectory. But there are serious questions that remain on their capacity to do so, and what the impact of another slowdown in releases from a major studio would bring.”

Paramount has said it won’t close the deal before June 2027 unless the litigation resolves sooner, and is pushing for a November trial; the states want April 2027. Either way, the industry just posted its biggest opening weekend ever while the question of how many movies get made is sitting in a courtroom in Northern California.

Stuff We Wrote

Film shoots

Number of the week

The Hollywood Foreign Press Assn. has sued Jay Penske, Penske Media Corp., the Golden Globe Foundation and others over the 2023 acquisition of the Golden Globe Awards, alleging antitrust violations.

As my colleague Stacy Perman reported, the Hollywood Foreign Press Assn. is seeking at least $150 million in damages.

The group, which founded the Golden Globes, said in its lawsuit that Penske and the other named defendants “orchestrated and participated in a clandestine scheme to fraudulently acquire the Golden Globe Awards, dismantle the HFPA [Hollywood Foreign Press Assn.], and exert monopolistic control over Hollywood trades and the awards circuit thereby violating California’s antitrust and consumer protection statutes.”

A spokesperson for Penske and the Golden Globes denied the allegations, saying the suit “continues the absurdity and irrationality that the industry has come to expect from the defunct organization formerly known as the HFPA.”

What I’m watching

I had a pretty hectic week, which didn’t leave a lot of time to catch up on TV. But I did go see the L.A. Sparks game against the New York Liberty, which unfortunately ended in a loss. We’ll see what happens now that star Kelsey Plum has been traded.

Welcome back to The Times’ Lakers newsletter where the NBA is slipping into its summer slumber.

The long league-wide nightmare is over (or, depending on your team, just beginning): LeBron James has chosen a suitor. The 22-time All-Star is heading to the Philadelphia 76ers. James’ much-anticipated decision was the last major domino of the eventful offseason that shifted the balance of power in the league, relocated some of the sport’s biggest stars and completely remade the Lakers roster.

As we get ready to go into offseason rest mode, here’s where the Lakers stand heading into the summer:

Roll call

He got a new deal and new jersey number on his new team. Now Walker Kessler can move on to more important things.

“Still learning names,” the Lakers’ prized offseason acquisition told reporters last month. “That’s probably the hardest thing right now.”

The former Utah center was the centerpiece of the Lakers’ transformational offseason. Wanting to pair Luka Doncic with a new center, the Lakers reached for the 25-year-old Kessler, signing him to a four-year, $130-million deal while sending four first-round picks to Utah.

Now the focus will be whether these moves can pay off. Getting a roster with nine new players to jell will be a season-long journey for the Lakers. The process is starting even before training camp as Doncic invited all of his teammates to Slovenia for a minicamp/group vacay this summer, according to ESPN. The superstar point guard stayed in Europe this offseason to rehab his hamstring injury and spend time with his two young daughters. Doncic elected not to play for his national team during the FIBA World Cup European Qualifiers to focus on his family.

Doncic’s leadership was a major theme during his first full season with the Lakers, when he organized team activities including a Porsche Driving Experience for players and gifted everyone in the organization electric bikes for Christmas. With James and fellow vocal leader Marcus Smart now elsewhere, Doncic’s presence off the court will be almost as important as his outsized impact on it.

From a basketball perspective, the Lakers already know they can count on Doncic.

“All four guys around him, it just makes it a lot easier for them to do what they need to do,” Kessler said of playing with Doncic. “What I can do for him is obviously play defense for him, set great screens. Get him some assists. It’s gonna be a lot of fun. I’ve never played with a point guard of that kind of size and stature to where he’s just a matchup nightmare.”

Kessler already has experience with some of his new Lakers teammates. Even before he played with guard Collin Sexton in Utah from 2022-25, Kessler was familiar with the fellow Atlanta-area native from their high school days.

Kessler also played with Austin Reaves during the 2023 FIBA World Cup, in which the United States finished fourth. Reaves was the United States’ second-leading scorer, averaging 13.8 points per game, while Kessler, then only one season into his NBA career, tied for the team lead with nine total blocks while playing the fewest cumulative minutes (56).

“He’s a big, goofy dude that just enjoys life and has fun,” Reaves told reporters during summer league about his impressions of Kessler. “Obviously you see what he does basketball wise and how he impacts the game. He’s good defensively, good in the pocket. Just a smart player. So I’m happy to have him on the team and get to play with him.”

The center depth behind Kessler remains one of the biggest question marks for the Lakers. Their only other option at the position is the 30-year-old Kevon Looney, who signed on a one-year, $3.9-million, veteran minimum deal. The UCLA alumnus and three-time NBA champion played only 21 games for the New Orleans Pelicans last year, averaging 2.8 points and 5.6 rebounds.

Despite turning over more than half of their roster, the Lakers cannot be done with offseason moves. They already went overboard with 16 players. One has got to go before the regular season begins to reach the league maximum. Maybe more will be on the way out if the Lakers continue to pursue options to fill a persistent hole on the wing. Former Hawks forward Jonathan Kuminga is still floating in the open market.

Pending the finishing touches, the Lakers roster still might not be enough to supplant Oklahoma City and San Antonio in the Western Conference. Kessler’s play will determine the Lakers’ ceiling this season, and he hopes to make the team’s bet on him worth it.

“For me, I’m somebody that if I know that they have that belief in me, I’m gonna run through a brick wall for them,” Kessler said. “That’s just how I’ve been wired my whole life and it definitely makes it a lot easier to go out there and compete for a team.”

Favorite thing I ate this week

Clockwise from top left: cocobread fish cutter, sweet spiced plantains, red pepper goat, jerk chicken wings, cucumber salad and mom’s curry chicken roti.

(Thuc Nhi Nguyen / Los Angeles Times)

I’ve said it before and I’ll say it again: When in doubt, consult the L.A. Times 101 best restaurants list.

A hunt for a convenient post-gymnastics class snack brought us to Bridgetown Roti in East Hollywood. It’s a Caribbean cuisine gem specializing in roti, a type of flatbread, they use to make curry-filled wraps, but the chicken curry roti was only the beginning of our feast. We also got a cocobread fish cutter, sweet spiced plantains, red pepper goat, jerk chicken wings and cucumber salad.

Did it feel like we ordered almost the entire menu? Yes. Did we regret it? Absolutely not.

All the dishes were fantastic, but the red pepper goat, which can be served in a wrap, over rice or on a plate with crispy potatoes and slaw, was my favorite, and the honey jerk whole wings were another standout. And if you order a flight of sauces — which range from sweet to spicy enough that it comes with a warning — it basically multiples every dish by four with all the different combinations you can make. It’s food math.

In case you missed it

Teen obtained UCLA jersey worn by Kareem in trade for his radio. Decades later, he’s set to make a fortune

Swanson: Who cares about LeBron’s move to the 76ers? Lakers have gotten better without him

Teen paid $3 for Wilt Chamberlain Lakers jacket at thrift store. It sold for almost $90,000 at auction

Lakers release preseason schedule; opener is Oct. 5

Lakers sign Matisse Thybulle to a one-year deal as roster overhaul continues

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

When Gianni Infantino was chosen to replace Sepp Blatter as president of FIFA, he was seen as a reformer, someone who would bring transparency and openness to soccer’s international governing body, which had long been mired in scandal and deceit.

A decade later the reformer has been exposed, hoisted by his own petard after a secret partnership with a member of President Trump’s family circle to sell 20% of the World Cup to private investors was exposed. It was a deal so brazen it made past FIFA transgressions seem quaint by comparison.

Less than two weeks after Infantino closed one of the most successful World Cups in history, one that brought in a record $15 billion in revenue, The Times of London revealed that Infantino had begun bribing FIFA’s 211-member associations, giving them until Sept. 19 to accept his plan to sell a stake in the commercial and tournament rights to the World Cup and other FIFA tournaments to a private equity firm headed by Joshua Kushner, the brother of Jared Kushner, Trump’s son-in-law and an inveterate White House counselor.

Sign on, the federations were told, and you’ll get $20 million. Decline, and FIFA will give you just a fraction of that.

Under pressure, Infantino announced Friday he was withdrawing the plan, known as the FIFA Forward Enterprise. But it turns out there was more to the proposal than originally thought.

Much, much more.

Which is why Infantino’s campaign for reelection to a fourth term as FIFA president next March, a campaign which had the support of more than 200 FIFA members two weeks ago, now appears doomed.

The national federations of Serbia, Sweden and Wales on Monday withdrew their support for Infantino and England’s FA is expected to do the ‌same. UEFA, the governing body for European soccer and the largest and most powerful of FIFA’s six continental confederations, is threatening legal action while two other confederations — CONCACAF, the largest of FIFA’s two confederations in the Americans and the AFC, which manages soccer in Asia — have issued condemnations.

Those three confederations together represent nearly 140 FIFA members, meaning if they hold together there is no path for Infantino to get the 106 votes he would need to win reelection.

So how did we get here? How did Infantino go from progressive reformer, the overseer of newly transparent and accountable FIFA, to the man who literally tried to sell the World Cup? The journey may not have been as long as it seemed because Infantino may never have been the Boy Scout he was initially perceived to be.

Days after his first election as president in 2016, his name surfaced in leaked documents indicating that, while a senior legal official at UEFA, he had co-signed a broadcast deal with a company subsequently linked to a U.S. investigation into FIFA corruption. Later that same year, a FIFA committee opened an investigation into whether Infantino breached the organization’s Code of Ethics.

Infantino was eventually cleared by that probe but another pattern soon emerged, one that saw the president morph from a soccer bureaucrat into someone who believes he should be mixing with presidents and kings.

Infantino inherited World Cups that had already been awarded to Russia and Qatar, but he aggressively downplayed the human rights abuses in the two countries. Russian President Putin rewarded that by presenting the FIFA chief with the Order of Friendship medal. Qatar did better than that, giving Infantino use of a luxury Gulfstream G650 jet from its government fleet.

FIFA president Gianni Infantino, far left, takes a selfie with (from left) President Trump, Mexican President Claudia Sheinbaum and Canadian Prime Minister Mark Carney during the World Cup draw in Washington on Dec. 5.

(Andrew Harnik / Getty Images)

If Infantino, born to blue-collar Italian parents in Switzerland, had previously been driven by a desire for power and money, one former close associate told The Times of London that the FIFA president “views himself as one of the oligarchs now.”

And no government gave Infantino more access to the corridors of power than the Trump administration. Infantino rented office space in Trump Tower, attended Trump’s second inauguration, mingled with him and his guests at Mar-a-lago, accompanied him on diplomatic missions to the Middle East and was a frequent visitor to the White House.

Last October, Infantino took to Instagram to say that Trump “definitely deserves” the Nobel Peace Prize. When he didn’t get it, Infantino simply created his own award, presenting Trump with first FIFA Peace Prize last December.

But the access to the top levels of the U.S. government may have created Infantino’s Icarus moment. The beginning of Infantino’s fall may have started last year at the White House when he and Portuguese star Cristiano Ronaldo attended a black-tie dinner to honor Saudi Arabia’s crown prince Mohammed bin Salman.

Five days earlier Ronaldo had been given a red card and a three-game suspension for a serious foul, a penalty that would have forced him to miss the start of the World Cup. After the White House event, FIFA announced Ronaldo’s suspension had been lifted, allowing one of the World Cup’s star attractions to play in the tournament.

That was an incident Trump remembered last month when he personally — and successfully — petitioned Infantino to lift a red-card suspension for U.S. striker Folarin Balogun the day before a World Cup round-of-16 game with Belgium. It was just the second time in history a suspension was overturned during a World Cup.

Infantino also pushed through a number of other World Cup firsts for this summer’s tournament. He added three-minute hydration breaks each half, upsetting more than a century and a half of soccer tradition while giving six more minutes of advertising space to broadcasters; he introduced a halftime show for the final, nearly doubling the intermission break for the tournament’s most important game; and he pioneered a dynamic pricing scheme that more than doubled the cost of tickets from 2022.

Those moves were designed to boost FIFA revenues, and they did — as did Infantino’s push to expand the 2026 World Cup to 48 teams and 104 games. But his luck ran out with his plan to give outside investors a share of the tournament, a scheme known to the White House — Jared Kushner was originally involved, according to reports — but few others.

One damning part of the plan involved a potential future role for Infantino in the investment fund. As FIFA’s president, Infantino earns an annual salary of $6 million, but if reelected, he can serve just one more term, meaning he’d be out of a job in 2031. However, multiple reports, citing unnamed sources, said Infantino was positioned to be chief executive of the investment arm in his post-FIFA days, a job that pays $30 million a year.

FIFA said that idea was never discussed. It also denied reports that Infantino had been rebuffed Monday in efforts to contact Trump for help in saving his presidency. But should he be pushed aside and should his days as a private equity manager never come to pass, there is another job Trump thinks he could do.

The president is reportedly considering pushing Infantino to become the next United Nations secretary-general when António Guterres’ term expires in December.

⚽ You have read the latest installment of On Soccer with Kevin Baxter. The weekly column takes you behind the scenes and shines a spotlight on unique stories. Listen to Baxter on this week’s episode of the “Corner of the Galaxy” podcast.

One of the most read — and debated — stories from the Arts team this week was an interview with Oskar Eustis a day after he announced that he would step down as the artistic director of the Public Theater in 2028. The New York Times broke the news July 22 in an interview with Eustis in which he also said that the American nonprofit theater movement was over.

I followed up in a phone interview the next day and asked him to explain what he meant, which he did, noting that the broad consensus that nonprofit theater mattered to the country — a belief held by national endowments, state arts agencies, public policy institutes and corporate philanthropic departments — had disappeared. So, too, have many of those very same agencies and their budgets that provided funding to the arts. The case for sustaining any particular theater now comes down to that theater and how relevant and necessary it can make itself to its surrounding community, Eustis said.

There is never enough room in an article when you’ve had a good conversation with someone, so I thought I’d use the newsletter to publish a bit more of what Eustis shared with me. I was particularly interested in something he said about the Public’s famed Shakespeare in the Park program, which is free and takes place every summer at the Delacorte Theater in Central Park. Since its inception, more than 160 productions have been staged, reaching more than 6 million people.

The free tickets the Public gives away for these shows are “the prime driver of our income at the Public, and this has been true since our founding,” Eustis told me.

That may sound counterintuitive, but it goes directly to the case Eustis is making for modern nonprofit theaters to be as relevant as possible to their communities. Ticket sales will never bring in the kind of money theaters need to sustain a robust slate of diverse programming — that will always have to come from donors. These very same donors, Eustis said, are the ones who feel most excited to be sitting among the citizenry in Central Park, watching the beauty of public art unfold in a joyous communal atmosphere.

“It’s not just when they make a donation that they get to see the show,” said Eustis of uber-wealthy donors. “They absolutely viscerally feel that — sitting in that theater when 75% of the audience hasn’t paid a penny to be there — they are getting to be part of their dream city. They’re feeling, ‘Oh, this is what New York is supposed to feel like.’”

By giving away free Shakespeare in the Park tickets, Eustis said, the Public is “making an unbelievably powerful case for why we need subsidy … and that’s why the money comes, because we are [showing] that democratic access is more fun for a better city.”

I like the idea of free theater being more fun, and rich people paying for the privilege of being a part of that fun when it is so removed from their cordoned-off daily lives. But I do worry that so much of what we now rely on culturally comes down to the whims and fancies of a handful of ultra-rich patrons. Newspapers are run by them, public school art and music programs rely on them, as do museums, symphonies, ballets and operas.

As Eustis pointed out, these donors no longer represent a broad consensus that is channeled into a civic vision via government support, but that is precisely why the situation feels so precarious. We might be one serious AI-driven stock market crash from artistic oblivion.

I’m Arts editor Jessica Gelt staring gloomily into the distance. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

“Ulises Carrión, a bookwork in many places” exhibition at Joan Los Angeles.

(Evan Walsh)

Ulises Carrión, a bookwork in many places
The exhibition, in its final two weeks, examines the Mexican-born conceptual artist’s influence on reimagined systems of exchange through printed matter by artists, librarians, publishers and alternative spaces. The show focuses on Southern California in particular, spanning the 1970s, ’80s and ’90s, featuring artist books, correspondence, video and ephemera.
11 a.m.-5 p.m. Thursdays-Saturdays. Through Aug. 9. Joan, 1206 Maple Ave., Suite 715, Fashion District, downtown L.A. joanlosangeles.org

Puppet Up!
Brian Henson’s adventurous stage show featuring improv and sketch comedy with the iconic Henson puppets and puppeteers is back for a limited eight-performance run. Also on tap is “A Conversation With Brian Henson,” a live presentation by the Emmy-winning producer, director and puppeteer about the rich history of the Jim Henson Company, 2 p.m. Sunday at the Montalbán.
8 p.m. Friday; 3 and 7 p.m. Saturday; 5 p.m. Sunday; 8 p.m. Aug. 7; 3 and 7 p.m. Aug. 8; and 5 p.m. Aug. 9. Ricardo Montalbán Theatre, 1615 Vine St. puppetup.com

Tchaikovsky Spectacular with Fireworks
L.A.-based circus company Troupe Vertigo and the USC Trojan Marching Band join the Los Angeles Philharmonic, conducted by France’s Chloe Dufresne, for the 1812 overture — with pyrotechnics.
8 p.m. Friday and Saturday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

SATURDAY

A scene from “Acquaprofonda” at the Aquarium of the Pacific.”

(Andres Leon for Long Beach Opera)

Acquaprofonda: A Deep-Sea Opera for Families
Long Beach Opera Education collaborates with the Aquarium of the Pacific for this free, family-friendly, 30-minute adventure about a young girl who finds an ailing whale and stands up for what’s right. Music by Giovanni Sollima, libretto by Giancarlo De Cataldo and English libretto by Elle Moody.
Noon and 3 p.m. Saturdays and Sundays, through Aug. 9. Aquarium of the Pacific, Honda Pacific Visions Theater, 100 Aquarium Way, Long Beach. longbeachopera.org

Boleros De Noche
The 10th annual celebration of romance, nostalgia and cultural pride features Puerto Rican singer iLe and a special performance by the L.A.-based trio Voz Bohemia.
8 p.m. Ford Amphitheatre, 2580 Cahuenga Blvd. East. theford.com

Free 4 All
Claremont Lewis Museum of Art opens its doors for this annual one-day takeover by local artists who will display their work with no fees to exhibit and no gatekeepers to choose whose work gets seen. With live music by the Kamran Curlin Trio, Home Again Home Again and Coupe Deville.
1-8 p.m. Claremont Lewis Museum of Art, 200 W. First St., Claremont. clmoa.org

People of Pompeii
A new comedy by Los Angeles Drama Critics Circle Award-winning playwright Bernardo Cubría, co-directed by Ellen Geer and Xochitl Romero, is set in Topanga Canyon itself and focuses on community in a time of climate catastrophe.
Through Oct. 4. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com

Two Gentlebots of Verona
The annual Actors’ Gang Free Shakespeare in the Park for Families features a cyber-inspired Shakespeare adaptation by Rynn Vogel, directed by Adam J. Jefferis.
11 a.m. Saturdays and Sundays, through Aug. 23. Media Park, 9091 Culver Blvd., Culver City; noon, Aug. 29-30. Buena Vista Branch Library, 300 N. Buena Vista St., Burbank. theactorsgang.com

SUNDAY

Sidney Jacobs & the Monsters
The jazz vocalist and his sextet perform original music with reimagined standards.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

St. Vincent with the Hollywood Bowl Orchestra
The six-time Grammy-winning singer-songwriter guitarist goes orchestral with the HBO led by conductor Jules Buckley.
7 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

TUESDAY

Louis Langrée
The French conductor leads the L.A. Phil in works from Felix Mendelssohn and Joseph Haydn on Tuesday at the Hollywood Bowl; two nights later, Langrée returns with pieces by Johannes Brahms, Georges Bizet and Louise Farrenc.
Mendelssohn & Haydn, 8 p.m. Tuesday; Brahms & Bizet, 8 p.m. Thursday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

“Saint Luke” from Irmengard Codex shortly after 1053. German. Tempera colors, gold, and ink on parchment 22.2 × 18.7 cm (8 3/4 × 7 3/8 in.)

(Getty Museum)

The Making of a Medieval Manuscript
If you ever wondered how the beautiful manuscripts in the Getty’s extensive collection were created, this is the exhibition for you. Tools and materials used illustrate each phase of the process from parchment making, writing and illuminating through the final binding. Christian manuscripts from Europe, Armenia and Ethiopia, plus objects of Jewish and Muslim origin, will also be on display, along with a video component.
Through May 2, 2027. Getty Center, 1200 Getty Center Drive, L.A. getty.edu

WEDNESDAY

Kalean Ung as the Chanteuse in “The Comedy of Errors.”

(Mike Ditz)

The Comedy of Errors
Melissa Chalsma directs Indie Shakes’ production of the Bard’s wordplay and slapstick set in a Mediterranean port town, with an original score.
7 p.m. Wednesday-Sunday; through Sept. 6. Old Zoo Picnic Area, Griffith Park. indieshakes.org/free-shakespeare-2026

THURSDAY

Annie and the Caldwells/The Campbell Brothers
The Skirball concludes its 29th season of Sunset Concerts with this family-fueled pairing of disco soul and sacred steel gospel groups, respectively, plus DJ sets by Sonrisita.
7 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

JazzPOP 2026
The summer series marks its 19th season with three concerts showcasing West Coast creative jazz: Kasey Knudsen Sextet (Thursday); Malachi Whitson Quartet (Aug. 13); and Machado Mijiga Trio (Aug. 20).
8 p.m. Thursdays, through Aug. 20. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

— Kevin Crust

Retrospective

L.A. Times arts coverage from the the past …

Playwright/director Moises Kaufman of “The Laramie Project” was on the cover of Sunday Calendar, July 29, 2001.

(Irfan Khan / Los Angeles Times)

At the Heart of a Modern Tragedy

Sunday Calendar, July 29, 2001

NEW YORK — Moises Kaufman could not turn off the television. He could not put down the newspaper. Like much of America, he was mesmerized by the news of the horrific beating, robbery and eventual death in 1998 of Matthew Shepard, a gay university student attacked and left for dead by two young men near Laramie, Wyo.

“For the five days until he died, you couldn’t turn on a television or a radio and not hear about it,” says the 37-year-old playwright and director. “Matthew Shepard put a face on hate crimes. He was young, beautiful, starting his life. The nation as a whole said, ‘Oh, my God. What’s going on?’ ”

It was exactly the sort of question that Kaufman and his colleagues at the Tectonic Theater Project here try to ask, if not answer, onstage. So unlike much of America, Kaufman did not simply move on to the next news tragedy. The man who created the widely produced “Gross Indecency: The Three Trials of Oscar Wilde” had found his next theater project. READ MORE

— Barbara Isenberg

Culture news and the SoCal scene

Artist Betye Saar visits her pet tortoise named Ms. Rojo on Tuesday, Feb. 3, 2026, in Los Angeles.

(Jason Armond / Los Angeles Times)

Pioneering Los Angeles assemblage artist Betye Saar died Sunday, just a few days shy of her 100th birthday. The Times had the privilege of profiling her a few weeks earlier in a story that also included some wonderful photos of Saar still hard at work in her Laurel Canyon home studio. After Saar’s death, we published an obituary written by former Times columnist Carolina Miranda, and I put together a list of five of Saar’s most compelling works.

Watts Towers is poised to break ground in October on a $22-million campus renovation — the first such work done to the arts campus since it opened in 1970. The work is set to begin as funding for a 15-year project to preserve the towers themselves has dried up, with work about 90% complete. Community leaders say the situation represents the frustrating piecemeal approach taken over the years to preserve one of the city’s most important cultural landmarks. Times contributor Jane Horowitz has the scoop.

Evan Lugo (George Page), Sonya Cooke (Margaret Page), Zane Caputo (Abraham Slender), Zach Trent (Skateboard Fenton) and Heriberto Cruz Jr. (Doctor Cayo) in “The Merry Wives of Windsor Cove.”

(Elijah Waller)

“The Merry Wives of Windsor’” got a ’50s-themed SoCal beach blanket bingo musical makeover at UC Irvine’s New Swan Shakespeare Festival, and Times theater critic Charles McNulty was there to weigh in on the result. “The pastiche score, indebted to the pop charts of the 1950s, isn’t allowed to dominate,” McNulty writes. “As modern musicals go, this is a low-key affair. The comedy is still the thing in this frolicsome outdoor production, which takes place in the charming ambiance of the festival’s portable, mini-Elizabethan venue.”

McNulty also took time to praise the work of stellar older actors in a rare revival of Nöel Coward’s “Waiting in the Wings,” which is running in repertory at Will Geer Theatricum Botanicum through Oct. 10. The play, “which is set in ‘The Wings,’ a charity home for retired actresses, provides a feast for veteran thespians for whom it would be impolite to ask their age,” writes McNulty. “Led by Susan Angelo, Jan Wikstrom and Ellen Geer, this ensemble, under the direction of Willow Geer, diverts and distracts from the mustier aspects of Coward’s style.”

The Lucas Museum of Narrative Art announced its inaugural film programming, which is set to screen nonstop during museum hours in two dedicated 299-seat theaters. One theater will play mostly documentary films, and the other will be devoted to the more experimental aspects of the art form.

Alaska Thunderf— will play Mary Todd Lincoln in “Oh, Mary!” at the Ahmanson.

(Daniel Rampulla)

“RuPaul’s Drag Race” star Alaska Thunderf— will play Mary Todd Lincoln in Cole Escola’s Tony-winning comedy “Oh, Mary!” when it arrives at Center Theatre Group’s Ahmanson Theatre in the fall. Broadway star J. Harrison Ghee has been cast opposite Alaska in the role of her famous husband.

Joey McIntyre of New Kids on the Block performs during Audacy’s 11th annual We Can Survive at Prudential Center on Sept. 28, 2024, in Newark, N.J.

(Manny Carabel / Getty Images for Audacy)

The Wallis Annenberg Center for the Performing Arts announced some additions to its 2026-2027 season, including the world premiere of a new play, “Radio Galaxy,” written by Michèle Aldin Kushner, directed by Kimberly Senior and starring Joey McIntyre (yes, that Joey McIntyre) and Olivier Award winner Lesli Margherita. The show is about a 17-year-old from a working-class New Jersey town who wants to become an astronomer but must deal with the harsh realities of daily life, including his half-sister’s need for a bone marrow transplant. The show is scheduled for 18 performances in the Lovelace Studio Theater Nov. 6-22. Tickets are available here.

A few reduced-rate spots remain for Camp Build at the Gamble House in Pasadena, which runs from Aug. 1 to 5 for three hours each day. Two hours are devoted to learning the art and craft of woodworking, and a third hour is spent on activities inspired by nature and architecture in the historic home. The cost of the camp is assessed on a sliding scale according to income and need with four payment tiers ranging from free to $650. The remaining slots are in the second tier, which costs $350.

— Jessica Gelt

And last but not least

Want a glimpse into the hedonistic L.A. of yore? Check out this story about Eve Babitz’s personal letters. It will not disappoint.

At the start of his fifth fall camp at USC, Lincoln Riley found himself enamored with all that felt new around him. Namely the state-of-the-art, $200-million facility towering over one end of the Trojans’ practice field, with all the luxuries any football coach could ask for.

“This building is magical,” Riley said. “It’s hard to explain how different, how fantastic it is.”

On the field, in front of that gleaming facility, the Trojans also were breaking in something entirely new on Saturday: their receiving corps.

USC opened training camp this week without the services of its top returning wideout, Tanook Hines, after the sophomore underwent an offseason surgical procedure that has yet to revealed. Riley said the injury affecting Hines, who missed the spring, isn’t “overly serious” and that he’s expected back for the start of the season. But his absence leaves the Trojans with a totally new and unproven group to catch passes; many of them are getting their first experience of college football, and of quarterback Jayden Maiava.

“A lot of new bodies. Fortunately he had spring and all summer with all these guys to start developing that chemistry and that confidence,” Riley said of Maiava. “But that’s going to be something we have to work at every single day.”

Among those new players is a host of top receiver recruits expected to contribute right away. Partly, out of necessity.

Freshmen wideouts Trent Mosley and Kayden Dixon-Wyatt already made a strong impression and should immediately step into roles on offense. Tron Baker is another who presumably could carve out a place. And joining them this week at practice, after just enrolling this summer, is a freshman wideout who some believe will be the best of the bunch, top-60 recruit Boobie Feaster.

It may take Feaster time to get up to speed. Hines stepped into a similar position last season, having just arrived on campus for the summer. He proceeded to start eight games anyway.

But Hines was 19 years old by the start of his freshman season. Feaster just turned 17 in late May — and presumably would be one of the youngest players ever to suit up for USC.

Receiver isn’t the only position at which the Trojans are trending young. USC should get key contributions out of freshmen at tight end (five-star Mark Bowman), on the defensive line (five-star Luke Wafle), in the secondary and, at some point, on the offensive line.

That sort of impact should be expected after bringing in a 35-player class that ranked No. 1 in the nation. It also helps, Riley said, that so much of that class has been enrolled for seven months.

“Having as many midyears made a massive difference; I mean, there’s no question about it,” Riley said. “You can feel some of the confidence level.

“And so the less that we can have new as we go on, the more these guys settle in off the field, the better they play.”

That’s the primary goal over the next four weeks of fall camp. One that Riley already has spent plenty of time focused on, while breaking in the Bloom Football Performance Center

“These first few days in here have honestly been a little bit of a dream,” Riley said. “It’s honestly been hard to get players to go home. I haven’t left this place in five days. I haven’t left the compound.”

Financial companies remained in the spotlight this week as investors digested quarterly results from payment companies, insurers, exchanges, brokers, and asset managers.

Major names including PayPal (PYPL), Visa (V), Robinhood (HOOD), S&P Global (

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, with an assist from Gavin J. Quinton, giving you the latest on city and county government.

Deputy Atty. Gen. Marissa Roy did big numbers in the June 2 primary election, coming in first place in the race for city attorney and knocking City Atty. Hydee Feldstein Soto out of the running entirely.

Roy secured 43% of the vote in round one. Now that she’s in a head-to-head contest against Deputy Dist. Atty. John McKinney, she’s well ahead in fundraising as well.

Campaign spending reports for the Nov. 3 runoff, filed over the last few days, show that Roy’s campaign collected nearly $74,000 during the fundraising period that ended June 30. By comparison, McKinney collected just $3,000, according to his own contribution report.

“I plan to be a City Attorney for the people, and I’m proud to have a campaign supported by the people. If your campaign isn’t, then I think it’s fair to ask who it is for,” Roy said in a statement.

The race is one of three downballot contests where the candidate who came in first on June 2 is also well ahead in the scramble for campaign contributions. Things were similarly lopsided in council races in South L.A. and the San Fernando Valley.

McKinney, who received nearly 29% of the vote in the primary, said his campaign will have plenty of resources to “educate voters that Marissa Roy is a bad fit for Los Angeles.”

“The recent financial disclosure reflects just one week of activity,” he said in a statement. “Since the June 30th [fundraising] deadline, we’ve raised more than $65,000 from more than 80 individual donors and have nearly 15 fundraising events scheduled.”

Several of the donors who gave to Roy occupy the left end of the political spectrum, such as Loraine Lundquist, who ran for City Council twice in the San Fernando Valley, losing both times to Councilmember John Lee. Roy also picked up a donation from airport commissioner Victor Narro, project director for the UCLA Labor Center.

Roy received $1,800 from attorney Carol Sobel, who has sued the city many times on behalf of various clients over policing and its treatment of the homeless population. Another $1,800 came from Genie Harrison, who is representing former fire chief Kristin Crowley in her lawsuit over her ouster.

McKinney, who works for Dist. Atty. Nathan Hochman, is likely to have his own big-money support in the coming weeks. During the primary, an array of well-financed allies, including Airbnb, spent a combined $3.2 million on efforts to elect him.

In South L.A., Ugarte ramps up his fundraising

The fundraising was also lopsided in the race to replace City Councilmember Curren Price, a veteran lawmaker who is stepping down after 13 years in a district stretching from the Convention Center south to 95th Street.

Former Price aide Jose Ugarte collected about $35,000 for the runoff, much of it from other city workers, particularly council aides, records show.

Community organizer Estuardo Mazariegos took in about $5,400, pulling in donations from the progressive L.A. Forward Action Fund and from Lundquist, the former council candidate.

A number of elected officials have lined up behind Ugarte, who garnered 39% of the vote in the primary. He received $1,000 apiece from State Assemblymembers Mark Gonzalez (D-Los Angeles), Mike Fong (D-Alhambra) and José Luis Solache (D-Lynwood), according to his filing. Ugarte also received $1,000 each from former Councilmember David Ryu and from the Hollywood Chamber of Commerce.

Records show that Ugarte received $1,000 from the Los Angeles Police Protective League, the union that represents rank-and-file police officers, but then returned the contribution. Ugarte does not accept donations from the police union, his campaign strategist said.

“I support Mayor Bass’s efforts to increase staffing, strengthen community policing, and improve transparency and accountability. I also want to see more officers on foot patrols and bike patrols in our neighborhoods,” Ugarte said in a statement. “Returning this contribution does not change or influence my views on these priorities.”

In the Valley, Gaspar pulls in a big haul

In the race to replace Councilmember Bob Blumenfield in the west San Fernando Valley, businessman Tim Gaspar is proving to be a fundraising powerhouse.

Gaspar reported more than $180,000 in donations to his runoff campaign through June 30, compared with about $31,000 for Barri Worth Girvan, an aide to County Supervisor Lindsey Horvath, according to her filing.

“After finishing with the most votes in the primary, our campaign is grateful for the outpouring of support from business owners, neighbors, and friends across the West Valley,” Gaspar said in a statement.

Gaspar received 46% of the vote in the primary, compared with more than 42% for Worth Girvan.

In an interview, Worth Girvan said she’s not troubled by the fundraising gap. During the primary, backers of Gaspar spent about $1.4 million on independent expenditures supporting his election bid.

“We still came within 4 percentage points,” she said. “To me, it’s always been about the voters, so that’s what I’m focused on.”

Worth Girvan picked up donations from longtime Democrats, including Gonzlaez, the state Assembly member, former state Assembly Speaker Anthony Rendon and Ryu, the former City Council member. She told The Times her fundraising picked up significantly after the June 30 fundraising deadline, bringing her total haul to more than $100,000.

Gaspar picked up donations from several public safety unions, including $1,000 from the Police Protective League and $500 from a political action committee set up by the city’s port police. He received $1,000 from real estate developer Rick Caruso, who ran unsuccessfully for mayor in 2022.

State of play

— WINDS OF CHANGE: For the first time since 1963, L.A.’s 9th Council District will not have a Black representative. The race to represent that South L.A. district features two Latino candidates who immigrated to the U.S. as children, both of them undocumented at the time. Ugarte, the former council aide, was born in Oaxaca and is Mazateco, an Indigenous group native to the Mexican state. Mazariegos, a community organizer, was born in Guatemala.

— DISAPPEARING ACT: Records dealing with the activities of the Los Angeles Police Department — emails, text messages, audio recordings — have vanished from a city website devoted to the release of public information. Although the removal of such records does not violate any laws, “it’s certainly not a best practice,” one expert said.

— PERMIT PROBLEMS: A representative of Lineage, whose massive cold storage facility burned down in Boyle Heights two months ago, filed a permit this week to rebuild the company’s 491,000-square-foot warehouse to its original pre-fire condition. Bass called the filing a “slap in the face” to families in Boyle Heights and ordered her department heads to put the application on hold until the site receives extensive study.

— SCHOOLS AND SAFETY: Meanwhile, with less than two weeks left before the start of school, families in Boyle Heights and East L.A. are worried about health and safety at eight campuses located within a mile of the Lineage site, which has been beset with the stench of rotting food, rats and swarms of flies.

— ZOO COUP: Feldstein Soto may have lost her bid for a second term, but she did rack up a key court victory in the city’s battle over money for the Los Angeles Zoo. The city has been trying to claw back about $50 million raised for the facility by the Greater Los Angeles Zoo Assn., the nonprofit that helped run it until recently. GLAZA filed for Chapter 11 bankruptcy protection in June, citing “incessant litigation” from the city. This week, at the city’s request, a judge dismissed the bankruptcy filing.

— TAKING IT TO THE STREETS: L.A. is on track to repeal a city law prohibiting kids from playing baseball, basketball, soccer or other ball games out in the street. The law was passed in 1936 out of a fear that children would be struck by cars. Councilmember Bob Blumenfield says it’s time the ordinance was erased from the books.

— FIXING THEIR MISTAKE: L.A. County’s Board of Supervisors voted Tuesday to send voters a charter amendment that would reverse the repeal of Measure J, which was approved six years ago and sets aside money for alternatives to incarceration. Measure J, through a series of errors, was supplanted in 2024 by Measure G, which will increase the number of supervisors. The new measure would restore Measure J to the county charter.

— SPEAKING OF ERRORS: Last week, we mentioned a proposal to reduce the number of required council meetings from three per week down to one, saying that the idea failed to make the ballot. That was wrong! The measure will in fact go before voters in the Nov. 3 election as part of Charter Amendment EE.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to bring homeless people indoors went to Skid Row, bringing 23 people inside, according to the mayor’s team. The area is represented by Councilmember Ysabel Jurado.
• On the docket next week: After a month off, the City Council resumes its business on Tuesday.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

This week’s caption reads:

U.S. Air Force 2nd Lt. Garret Burgess, 490th Missile Squadron nuclear and missile operations officer, pulls a blast door inside a launch control center at Malmstrom Air Force Base, Montana, April 11, 2026. The blast door secures access to the underground Launch Control Center, where missileers maintain continuous command and control of assigned intercontinental ballistic missile forces. (U.S. Air Force photo by Airman 1st Class Teniya Caldwell)

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SACRAMENTO — Republican gubernatorial candidate Steve Hilton is pressuring his Democratic rival, Xavier Becerra, to participate in a series of debates in the weeks leading up the Nov. 3 election to determine California’s next governor.

In a video shared by his campaign Friday, Hilton listed six debate invitations he has received from cable broadcaster CNN and television news stations around the state, beginning in late September.

“I have accepted every single one of these debates,” said Hilton, standing behind a debate-style podium and gesturing at an empty one beside him with Becerra’s name on it . “This guy, Xavier Becerra, has not accepted any of them. That is completely outrageous. We have to have a debate in this governor’s race. So come on, Xavier.”

The video shows Hilton walk out of frame and return with a cardboard cutout of Becerra, which he plunks behind the second podium while urging the candidate to “man up and show up.”

Becerra’s campaign said he will debate Hilton and blasted the Republican for “chasing” publicity.

“Snowflake Steve is melting faster than he can plan another press conference. While he’s there chasing media and doing Donald Trump’s bidding, Xavier Becerra is building a coalition of Californians ready to elect a governor who won’t bring Trump’s chaos to their front door,” Becerra spokesman Jonathan Underland said in a statement to The Times.

Hilton, a British immigrant who once advised a U.K. prime minister, is endorsed by President Donald Trump and finished second in the June open-party primary election with 24.6% of the vote.

Years of hosting a weekly show on Fox News has made Hilton comfortable on camera and the debate stage; he appeared at-ease during a series of debates earlier this year while lobbing attacks at his Democratic opponents and blaming the party for the state’s long list of problems.

Becerra served as secretary of the Department of Health and Human Services during the Biden administration. Before that, he spent four years battling the first Trump administration as California attorney general and more than two decades representing a Los Angeles congressional district.

The longtime Democratic politician became the come-from-behind winner of the primary, finishing with 28.1% of the vote after polling near the middle or bottom of a crowded field for months. His meteoric rise came after another front-runner, former Rep. Eric Swalwell, dropped out after a former staffer and other women accused him of sexual assault and misconduct.

Becerra has kept a relatively low profile since the election with few public appearances.

Hilton has held several campaign events in recent weeks to court independent and Latino voters. As a Trump-endorsed Republican, he faces a steep climb in California, where the president is deeply unpopular and a GOP candidate has not won a statewide election since 2006.

Last week he accused Democratic leaders of “abandoning” residents in Boyle Heights, where flies, rats and the stench of rotting food have lingered weeks after a frozen food warehouse was damaged by fire.

Hilton also recently took out full-page ads in The Los Angeles Times and San Francisco Chronicle to make the case to voters who dislike Trump but are dissatisfied with the status quo in California.

The creator of “New Girl” has a dark, twisty new show about a … female serial killer?

Since the end of her breakout sitcom, Liz Meriwether has imbued her sharp and charming brand of funny in network comedies like “Single Parents” and “Bless This Mess.” But she’s steadily embraced darker tones in her work — first, with the Emmy-winning Elizabeth Holmes biodrama “The Dropout,” then with last year’s FX miniseries “Dying for Sex,” a delicate dance between laughter and sorrow in its exploration of a woman’s commitment to live her best sexual life following a terminal cancer diagnosis. “Furious,” though, may be her darkest project yet.

Loosely inspired by the 1987 neo-noir “Black Widow,” which starred Theresa Russell as a serial killer who marries and poisons wealthy men for their inheritances, and Debra Winger as the investigator obsessed with tracking her down, the Hulu crime drama deepens the cat-and-mouse dynamic. It follows an FBI rookie and her search for a female serial killer seeking vengeance against the men who abused her as a teenager. And still, it manages to find moments of levity. The first three episodes are currently streaming, with new episodes released every Monday until the finale Aug. 31.

“I’ve just been loving trying different things with my writing,” Meriwether told me during a recent video call. “When this came up, I was like, ‘Oh, wow, a crime thriller, a serial killer show.’ It was so different than what I’d done before. It’s like the shows that I love, so I was excited to try to write one, somewhat naively. It’s funny because I would always roll my eyes a little bit when drama writers thought they could write comedy and then I found myself in the flip side of that being like, ‘Oh, this is so hard.’”

Check out more of my conversation with Meriwether in Guest Spot. And yes, as a devoted “New Girl” re-watcher forever trying to retain my Youths! status, I asked about about the reboot discourse that’s become its own comedy.

Also in this week’s Screen Gab, our writers recommend the return of a detective comedy that has its schoolteacher-turned-self-taught P.I. on another wild adventure and a Spanish-language limited series that takes place during the 1986 World Cup. — Yvonne Villarreal

Turn on

Recommendations from the film and TV experts at The Times

Diarra Kilpatrick as Diarra Brickland and Shannon Wallace as Chris in Season2 of “Diarra From Detroit.”

(BET / Paramount+)

“Diarra from Detroit” (Paramount+)

Diarra Kilpatrick (“Perry Mason”) created and stars in this smart, sparky mystery as a middle school teacher, also named Diarra, who turns self-described Black Nancy Drew when a man she was dating (Shannon Wallace as Chris) disappears. The new season, which sees the series folded into Paramount+ along with other BET+ series, finds them together again (retrospective spoiler alert: she rescues him at the end of Season 1), with issues — he’s got trauma to navigate, she’s sorting out her identity and desires — and mysteries still to solve, including the identity of the Chief, the city’s Mr. Big. The new season, which feels even more self-assured, picks up old themes of friends and family, as the search for a missing antique desk leads Diarra and friends and accomplices Aja (DomiNque Perry) and Tea (Bryan Terrell Clark) into fanciful new territory, including encounters with Black Freemasons and bikers, the history of Prohibition and a treasure hunt. Local food culture (Superman ice cream, coney dogs, Faygo) gets its due. The mix of suspense, romance and comedy is deft; small details keep the characters surprising and lifelike.— Robert Lloyd

Rafaella Lopez as Barbara, Ian Andrade as Salvador, Aldo Emiliano Navarro as Miguel, Damian Vergara as Tono and Regina Arroyo as Maria in “I’m Not Afraid.”

(Julieta Horak / Netflix)

“I’m Not Afraid” (No Tengo Miedo) (Netflix)

The dilapidated La Esmeralda coffee estate in Mexico’s Veracruz mountains is a lush, beautiful and spooky place — the perfect setting for a kidnap mystery. But in “I’m Not Afraid,” it’s also the wonderfully imperfect backdrop for a compelling tale about friendship and family bonds as seen through the eyes of a child. Set in 1986 during FIFA World Cup fever and a blight that’s ruined the region’s coffee crops, 10-year-old Miguel (played with depth and authenticity by Aldo Emiliano Navarro) first discovers boy captive Felipe (Yago Andreu) hidden and chained in and overgrown area that’s said to be haunted. He’s sure it’s the work of a witch spoken about in local folklore until it’s revealed his beloved parents may have something to do with the abduction. Poverty has driven them and the other families on the estate to make desperate choices. Adapted from Niccolò Ammaniti’s acclaimed novel by Ernesto Contreras (“The Secret of the River”), this six-episode series explores what happens when adults do desperate things in the hope of securing a better future for their children, but it’s the kids who end up saving the day. — Lorraine Ali

Guest spot

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

Emmy Rossum as FBI agent Alice Black in “Furious.”

(Sarah Shatz / Disney)

“Furious” feels like a crime story for the Epstein age. The eight-episode psychological thriller stars Emmy Rossum as Alice Black, a troubled rookie FBI agent who left her job as an NYPD detective to escape a violent and traumatic relationship with a fellow cop. She gets enlisted to help track down a female serial killer, played by Lola Petticrew, whose targets are the wealthy men who exploited and trafficked her for sex. But the series isn’t as concerned with its ripped-from-the-headlines relevance. Over video call, creator Liz Meriwether discussed what she was interested in unpacking in TV’s latest addition to the crime drama genre and contributing to the red flag roles played by Jake Lacy. —Y.V.

The series is loosely based on the “Black Widow” film. But how much did current events, specifically stories surrounding Jeffrey Epstein and the powerful men in his orbit, inform what or how you wanted to explore here?

It really did start as a “Black Widow” adaptation. This female serial killer and this female FBI agent in this cat-and-mouse game that has this very weird third act, where they just end up hanging out together on a beach, being friends. I loved that part of it. In the midst of this very exciting female killer-female FBI agent crime movie, there was this story about two women connecting who don’t have anybody else really in their lives to connect with. I dug into that and quickly saw that if the serial killer was just a black widow like she is in the movie, that it wasn’t going to give me enough story for eight episodes. I did a lot of research about real-life female serial killers, which are pretty rare. Female serial killers are almost all victims of horrible violence at different times in their lives. That really got me going, OK, what does it mean if you’re a victim of violence and you start being perpetrator of violence? What are the things that we can forgive and understand, and what are the things that we can’t?

And yes, when I looked out into the wider world and current events and what I was thinking and feeling, I definitely scooped up a lot of a lot of stories that are out there. But it’s not the story of a specific predator. There’s a lot to choose from right now. It should feel relevant. It should have echoes of what’s going on out there. But I wanted the focus to be on these characters, not the men that did these acts.

The parallels between Alice and Catherine — what they each have survived and the different ways they deal with it — come into focus. What were you interested in exploring about the traumatic and lingering effects of abuse through these two women?

Initially, when we were casting Catherine, the question of age came up because all of my writer instincts were like, “Oh well, we need to have Catherine be very young and closer to when she was actually a victim of this predator.” But as I started thinking about it, I was like, I don’t think we’ve seen as many stories about the long-term effects of this violence. There’s no flashbacks in the show. I’m not interested in showing what was done to either one of them [Catherine and Alice]. I really was interested in the aftereffects.

I spoke to a social worker, a psychologist and a trafficking victim, which was one of the hardest conversations I’ve ever had, and also a beautiful conversation. Her name is Jay Benke, and she has an organization that helps people that have been trafficked. She made a really interesting point that stuck with me, which is that when these FBI agents and law enforcement officials build cases, they’re looking at putting the traffickers in jail; they’re not looking at what the people who have been trafficked need for their lives to heal. There’s also an amazing website that a lawyer pointed me to called thelifestory.org, which is videos from different people who’ve been trafficked telling their story — from their childhood, all the way through having been trafficked and then coming out — and it’s in the shape of a circle. Those two resources for me were incredible. On the Alice side of things, we tend to think of the experience of being a [domestic violence] victim as being much more cut and dry than it is for a lot of people. The victim’s relationship with violence and love is very complicated and violence and intimacy can become linked in their brain. It was something that I started to learn about in my research for “Dying for Sex” and continued on with “Furious.”

Lola Petticrew as Catherine in “Furious.”

(Sarah Shatz / Disney)

We see these very girly things, stickers and gemstones, that Catherine holds onto. It reminds us of her emotional or mental stasis.

I don’t know what Lola would say about this, but my thought about the character of Catherine was she was a bit trapped. The choice to go on the path of vengeance feels like a very active choice, but in some ways it’s really limited. It makes your whole life about what happened to you. I feel like Catherine’s story is about breaking out of that trap a little bit, almost trying to give her character a chance to to grow up in some ways. That was definitely a struggle for me going into this because I was like, how am I going to give a serial killer an emotional arc? Catherine is trapped and needs to put the pieces of her memory and her life together in order to move forward.

The thing I love in Episode 3 is the bag that Catherine puts on the bed. That was a big breakthrough for me for Catherine’s character in that her history is something that she’s had to piece together and hold on to, and there’s big gaps in her memory, so she holds on to these material objects in order to just feel like she’s a person. Then in looking at Alice’s character, we felt like she was the opposite in a lot of ways. She had run out of her life with Marshall and [did] not really bring that much. Her whole life is her job; her apartment is really bare.

I don’t mean to sound glib in regard to the subject matter, but you mentioned Marshall, played by Jake Lacy. Why has Jake cornered the market on playing toxic dudes who seem like nice guys?

I haven’t seen “All Her Fault” yet — it’s something that I really need to see. He’s extraordinary in the show [“Furious”], and I had a long conversation with him before he signed on. It’s a very tricky part to play. It was very important to me throughout the process that none of the characters were easily put into bad or good categories — hopefully, we’re constantly making the audience question their feelings and their judgments about people. There’s an incredible documentary called “A Better Man” that is impossible to find. I had to pay like $50 to rent it. It’s this couple that dated when they were in high school, and he was abusive toward her. She got out of the situation, and they’re coming back in their 30s, meeting again and talking about what happened. It’s an unbelievable documentary. I had Jake watch it because I really wanted him to think about Marshall as a human. He really contributed to that, and you can see it in his performance. He’s [Jake’s] a very nice guy.

You know I can’t let you go without mentioning this “New Girl” reboot — or at least the talk of it. It’s become a bit at this point — Lamorne Morris and Jake Johnson pointing fingers at each other. You posted a video on Instagram confessing to sending explicit messages that have caused some tension.

In some ways, I feel like the videos and the interviews and stuff is maybe better than a reboot. If we can see that as the reboot, maybe that would be good for everybody. [The video] came from me getting this question from journalists during the [“Furious”] junket, It was like Hour Eight of the junket, and my brain just disappeared, and I started talking like a stream of consciousness — like I don’t have any more stories to tell or something. And then I went home that night and texted the cast and I was like, “I really messed up the question.” It had been this running joke on our text threads about how they just constantly blame each other, but a lot of the times they blame me like I’m the one that’s like holding up the reboot. I find it so annoying, but then I like answered this question in a horrible way, and then I was like, “Oh, I am going to be the one who has to answer to this.”

If it does happen, it’s going to be a really dark “New Girl” reboot, given the tone of recent projects.

[Laughs] I don’t even know if fans would want what would come out of me at this point.

Last question: What have you’ve watched recently that you’re recommending to everyone?

I love “Taskmaster” [YouTube, Pluto TV]. It’s the thing that brings me joy when I need it and so I always recommend that to everybody — but with the caveat that you have to love British humor. If you love joy and British humor, I highly recommend “Taskmaster.” And Kumail [Nanjiani] was on this last season, which was like really fun.

I’m very behind. “Widow’s Bay” [Apple TV] is No. 1 on my list. I need to watch it. I love Katie [Dippold, the show’s creator] so much.

ICYMI

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