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BILLINGS, Mont. — The 250th anniversary of U.S. independence was just months away when National Park Service employees received a surprising directive from Washington: Maintenance projects approved for this year at sites across the nation were being relegated to a new “low priority” list.

Work wanted by the White House was taking precedence, including repairs to the Lincoln Memorial Reflecting Pool, according to documents obtained by the Associated Press and three officials from the park service and Interior Department who spoke on condition of anonymity because they were not authorized to comment publicly.

The reflecting pool repairs and other projects tied to President Trump’s Freedom 250 initiative landed on a separate list for White House priorities, the documents show. Many of the administration-backed projects have advanced, though the Reflecting Pool repairs were botched.

Meanwhile, almost all of about 1,500 maintenance and other projects on the low priority list as of last month are expected to go undone, the officials said. That will worsen a repair backlog at national parks that doubled over the last decade to more than $24 billion even as visitor numbers surged.

The shelved projects, many already approved, span more than 200 sites and range from roof repairs at Golden Gate National Recreation Area to computer upgrades at Alaska’s Katmai National Park and bulk purchases of toilet paper and garbage bags at Yellowstone National Park.

Because of their low priority designation and with the fiscal year ending on Sept. 30, it’s unknown when they will move forward unless park staff can find a workaround, two of the officials said.

Park service employees “were told to not expect anything on the low priority list to be contracted,” one of the officials said.

“The first priority was White House priorities,” the official said. “Anywhere that is 250th-related they would have been diverting resources, some it probably planned but a lot of it pushed by the administration.”

The Interior Department said many entries on the low priority list had been “mis-prioritized and were corrected.” It declined to say how many or which ones, or how much parks are spending on projects outside Washington. Agency officials declined to answer questions about the Reflecting Pool.

Congress has pushed to fix maintenance backlog

The park service has a third list for “high priority” projects that includes more than 2,000 items, many with contracts awarded or in process, the documents show.

“In any year, the National Park Service must prioritize projects most in need,” Interior spokesperson Katie Martin wrote in a statement. “The National Park Service has not only been focused on beautifying the district for the 250th celebrations in our nation’s capital but has also been working on many deferred maintenance projects throughout the country.”

The 1,500 low priority projects had a combined cost estimate of more than $400 million.

Sen. Angus King (I-Maine), the ranking member of the Senate’s National Parks Subcommittee, said the administration’s pursuits around Washington “are more aesthetic than strictly necessary,” even as they siphon resources from sites elsewhere in the U.S.

“I don’t object to setting priorities,” King said in an interview. “I object to the White House priority list being tacked onto the top of that pyramid.”

He added it could lead to “the deterioration of America’s gems” as things like sanitation upgrades and basic maintenance don’t happen.

Congress during both Democratic and Republican presidencies has pushed to address the backlog. The bipartisan Great American Outdoors Act in 2020 included $6.5 billion for maintenance and repairs through 2025. A legislative extension is pending.

Testing the park service’s mission

The priority designations came from park service headquarters in Washington, according to documents obtained by AP and one of the unnamed officials.

The park service appears to be moving forward on at least $80 million in White House priorities, including $52 million awarded, the documents indicate. Much of that work was championed by Trump and Interior Secretary Doug Burgum, such as the reflecting pool repairs and the rehabilitation of other parks in the capital with an eye toward the 250th celebrations.

Trump announced his plans to paint the Reflecting Pool blue in April, aiming to address longstanding problems at the site before July 4. But the $16-million initiative faced immediate problems, including peeling sealant and a fierce return of green algae.

Not all of the administration’s priorities advanced: A $70-million line item for “turf maintenance” over five years at parks in the Washington, D.C., area is among more than $80 million in work marked as “canceled” in the Interior Department data.

The park service’s mission has been tested under Trump as its employees navigate new realities. It lost at least one-quarter of its permanent workforce under Trump.

Remaining employees have been ordered to revise exhibits that Trump said advanced “improper ideology,” and demolish the East Wing of the White House, which is under park stewardship, for the creation of a ballroom. Trump also reduced Bears Ears and Grand Staircase-Escalante national monuments in Utah as Republicans reshape public lands management.

Contracting officers in short supply

Pressure to deliver on administration demands for Freedom 250 was compounded by staffing cuts that made it harder to execute contracts, the unnamed officials said.

Prior to Trump’s second term, the parks had 275 contracting officers. They’ve since been consolidated into the Interior Department, which nevertheless saw its contracting workforce drop more than 20%, public records show.

About $140 million has been obligated or spent by the park service in Washington, D.C., this year, according to public data. That includes the reflecting pool work and the rehabilitation of fountains across the district.

Interior spokesperson Martin said the Trump administration is eyeing different revenue sources for maintenance including endowments and park pass sales.

Those sales rose more than $2 million, to $16.7 million, in the first quarter of 2026 compared with a year earlier, she said.

Brown writes for the Associated Press.

WASHINGTON — Supreme Court Chief Justice John Roberts is allowing the White House to continue construction on President Trump’s $400 million ballroom project for now.

Roberts signed a temporary order on Friday allowing work to continue while the court considers an emergency appeal from the Trump administration.

Lower courts had ordered a halt to the project, finding that it must have congressional approval. That ruling was set to take effect on Friday. Roberts signed the order because he oversees appeals of Washington-based cases.

The case comes before the nation’s highest court as Trump, a Republican, exercises unparalleled assertions of presidential power and increasingly seeks to mold the capital in his own image.

The Trump administration has scored a series of victories on the high court’s emergency docket, though the justices have ruled against some of the president’s signature policies after fuller review.

The administration has argued that the president has total authority to renovate the White House and other federal buildings as he sees fit and that the ballroom project must be completed due to national security concerns.

When Trump first announced the plans for a new ballroom, he did not emphasize national security. He said the project would be funded by private donations, including from himself.

The National Trust for Historic Preservation argues that Trump has no unilateral authority to undertake the work, which has included demolishing the East Wing. Lawyers for the preservation group accused the White House of trying to “outrun the courts” by accelerating construction.

The Trump administration says 65% of work has already been completed on the planned 90,000-square-foot (8,400-square-meter) ballroom, where the East Wing stood before the president ordered its demolition. Crews are working 20 hours a day, seven days a week on the project, where about $200 million in private donations has been spent or committed, Justice Department attorneys said in court documents.

A district court judge ordered a stop to aboveground construction of the planned ballroom in April in a ruling that was suspended before being upheld by an appeals court panel. The order from U.S. District Judge Richard Leon in Washington allows belowground work on bunkers and military installations to continue. Leon was nominated by President George W. Bush, a Republican.

Two appeals-court judges appointed by Democratic presidents found the project was for Congress to decide and “not a matter for Executive self-help.” A third judge, appointed by Trump, found that the preservationist group that challenged the project had no legal right to sue.

Solicitor General D. John Sauer picked up on that argument, calling the decision halting the work “extraordinary and unlawful.” He said the completion of the project was “vitally required by national security.”

Whitehurst and Kunzelman write for the Associated Press.

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

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

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

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

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

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

Trump relishes being the builder-in-chief

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

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

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

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

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

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

Trump again says his ballroom will have security value

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

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

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

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

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

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

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

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

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

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

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

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

WASHINGTON  — The Supreme Court was urged Tuesday to block construction of President Trump’s huge new ballroom until Congress weighs in. A decision, perhaps only temporary, is likely by Friday.

Acting on his own, Trump had the East Wing of the White House torn down in October and ordered work to start on a massive new building that would dwarf the old executive mansion and seat 1,000 guests for dinner.

But a federal judge in Washington ruled that Trump had overstepped his authority, and the U.S. Court of Appeals agreed in a 2-1 ruling on Aug. 7.

Those judges would stop the above-ground construction but put their decision on hold until this Friday. This gave the administration time to appeal to the Supreme Court.

The National Trust for Historic Preservation had sued, arguing that the president has no authority to erect new buildings on government property.

Federal law protects “historic buildings, parks, and places, including perhaps the most revered site in our nation: the White House and President’s Park,” the group told the court Tuesday. It is “more than the President’s residence” and “is owned by American people.”

The historic trust said Trump is moving quickly so as to bypass the law.

“Rather than obtain permission from Congress,” Trump and his appointees “have instead decided to try to outrun judicial review,” it said.

Meanwhile, Trump’s lawyers have taken to describing the ballroom as a national security project.

Last week, Solicitor Gen. D. John Sauer told the justices they should throw out the “extraordinary and unlawful injunction that will halt the ongoing construction of the integrated military complex” because “a totally secure ballroom space … is vitally required by national security.”

He also contended it is too late for judges to intervene.

“Today, the project is 65% complete in its entirety, and moving quickly toward total completion. A concrete-and-steel superstructure stretches five stories deep and 70 feet high, and occupies nearly 50,000 square feet, with construction on and above the second-story level above ground.”

While the plans have changed, the “work has followed a single coherent design,” he wrote. “By now, it has passed the point where major changes to [that] design are feasible.”

U.S. District Judge Richard Leon, a George W. Bush appointee who ruled on the lawsuits, agreed the White House may proceed with the underground work to create a safe and secure location for the president, his family and White House employees.

The solicitor general said a new and secure ballroom is also crucial for social gatherings and foreign dignitaries.

He said that if Leon’s ruling is “allowed to go into effect, the injunction would wrongfully install a single district judge as sole arbiter of what further construction is strictly necessary to protect the safety of the President, his family, staff members, and visitors to the White House, including foreign dignitaries, and presidents and prime ministers of other countries.”

Sauer also argued the lawsuit should be thrown out on the grounds that National Trust for Historic Preservation and its members have no standing to sue because they have not suffered a particular injury.

The D.C. Circuit judges split on that issue. Judges Patricia Millett, an Obama appointee, and Bradley Garcia, a Biden appointee, ruled the plaintiffs had standing to sue. Judge Neomi Rao, a Trump appointee, dissented and said the members of the historic trust did not have standing.

Earlier this year, Colman Domingo devoted a portion of his monologue on “Saturday Night Live” to a few things he is famous for. One example? “When you come to my house, the vibes are spectacular.”

Those vibes must have transitive properties: On a recent morning in a borrowed backyard in Santa Monica, the vibes were as impeccable as one of the actor’s famously natty red-carpet looks. Posing for photos poolside, Domingo was the picture of laid-back charm, chatting with the crew in that commanding leather-and-gravel voice and flashing a toothsome smile.

With four projects in 2026 alone and more than 100 credits across film, television and the stage dating back to 1994, you definitely know Domingo from something. Increasingly, people recognize him from several things. Or, as the case may be with a performer of his caliber, they don’t — and that has been the highest compliment of all for the 56-year-old Philly native.

“It is the wildest thing,” says Domingo, stretched out on a sectional in the shade. He recounts how people have approached him about his role as Danny, the elegantly snarky architect on the Netflix comedy “The Four Seasons,” and were flummoxed to discover that he also plays the tightly wound Ali, he of shaken faith and sawed-off shotgun, on the recently concluded HBO drama “Euphoria.” “I’ve had so many people who saw me as one character, but they didn’t know I played the other character, even if they watched both. They’re like, ‘Wait a minute, that’s the same guy?’”

Domingo in “Euphoria.”

(Patrick Wymore / HBO)

That’s the same guy. Familiarity has bred respect as Domingo nabbed Emmy nominations for both roles for the second time — supporting actor in a comedy for “The Four Seasons” and guest actor in a drama for “Euphoria,” a trophy he took home in 2022.

“I get the yin and yang,” he says of the pleasure and challenge of inhabiting men from such different worlds.

Domingo credits “Euphoria” creator Sam Levinson with the complexities of Ali’s journey, which were showcased in the finale in breathtaking extremes of violence and grace and included a poignant monologue about the limits of empathy as he grieved the loss of his sponsee Rue (Zendaya). “It was so beautiful,” says Domingo of the conclusion of his arc. “Sam gave me words that are not just for Rue. They’re like a prayer for the world, sitting down at tables and having the hard conversations and trying to get people to come to their personal truths. To have a breakthrough in their lives. That’s how he’s been utilizing me for the series.”

(Evan Mulling / For The Times)

Conversely, Tina Fey and the writing staff of “The Four Seasons” have been using Domingo’s Danny as, among other things, a brutally effective vehicle to deploy acidic one-liners. (A favorite: “This the town Tracy Chapman sped away from.”)

“He is fictitious, but in many ways there’s a lot more of me in him than I personally have seen [in my previous characters],” he says of the man whose bravado masks an unsettled energy as he encounters the challenges of midlife. “Even in my notes to Tina and the showrunners, I started to craft a character that was closer to myself. I’m like, ‘I don’t see the mes in the world, queer men who are mostly in heteronormative worlds and how we activate and how we love and our friendships that are not just based on the fact that we are queer.’”

Domingo’s own midlife — conversations about fiber and the proliferation of readers in every room aside — is enviable. In addition to the two series, he appeared in two of the most talked-about films of the year, the blockbuster Michael Jackson biopic “Michael” and Steven Spielberg’s sci-fi thriller “Disclosure Day.” In another instance of playing a set of disparate characters, he was the imperious patriarch Joe Jackson in the former and the rebellious, empathetic whistleblower Hugo Wakefield in the latter.

“I wanted to challenge myself in different spaces,” says Domingo with gratitude for those roles as well as other 2026 opportunities, like his “SNL” appearance — which brought him back to his “Big Gay Sketch Show” days — and his recent guest-hosting stint on “Jimmy Kimmel Live!” “I never want to get caught up just doing the same thing.” He recalls a time when he played a couple of villains in a row and similar offers poured in. “I thought, ‘Oh no, I’ve done that.’ I knew it was time to move on to something else. And even ‘The Four Seasons,’ when that came along, I had been going back to back with dramatic roles — ‘Sing Sing,’ ‘The Color Purple,’ ‘Rustin.’ It takes a little toll on you.”

Domingo with Marco Calvani in “The Four Seasons.”

(Emily V. Aragones / Netflix)

Fortunately, all of that work has helped Domingo amass a very comfy set of laurels (upon which he refuses to rest). While his success has been a slow burn, including years of work on Broadway as an actor and playwright — Domingo co-wrote the book for “Summer: The Donna Summer Musical” as well as several straight plays — and his stint as a series regular on “Fear the Walking Dead” the last five years lighted the fuse on the rocket.

In that time, Domingo has won four NAACP Image Awards, been nominated for back-to-back lead actor Oscars, Golden Globes and BAFTA awards, and received a second Tony Award nomination, this one for best play as a co-producer of the “Hamlet” adaptation “Fat Ham.” (His previous Tony nod came in 2011 for featured actor in a musical for “The Scottsboro Boys.”)

Colman Domingo.

(Evan Mulling / For The Times)

“I’m very happy that this has happened the way it has,” he says of this golden period of work and creativity in his 50s. It’s not that he wouldn’t have appreciated or been ready for it in his youth, he says, but he has seen the pitfalls of success that happens too young. “At this age, I know myself. I know what I need. I have boundaries. I know how to still be a person in the world. And that’s the part that’s important to me, which is not being so isolated.”

There’s little danger of that given how often he is now stopped on the street. But he is cheered by the interactions because, whether fans love him as a good guy, a bad guy or a character in between, they all want the same thing. “Whatever I’ve done, people always ask, ‘Can I have a hug?’” Maybe the vibes are not about the house, but Domingo himself.

When David Lynch moved from Philadelphia to Los Angeles in the summer of 1970, he was stunned by the sunshine that radiated onto the city — the “most beautiful light I’d ever seen in my life,” he wrote with Kristine McKenna in his 2018 memoir “Room to Dream.” In that book, he described his first morning walking out of an apartment on San Vicente Boulevard.

David Lynch in 2016.

(Wally Skalij / Los Angeles Times)

“I kept kind of moving around with my arms outstretched and I almost got hit by a car wandering into the street,” he wrote.

That light — and Los Angeles itself — continued to inspire and energize the filmmaker and artist throughout his five-plus decades of calling L.A. home, until his death last year at the age of 78. In “Room to Dream,” he wrote about the “magical street” of Mulholland Drive and all its twists and turns: “It’s really got a history, and if you’re in Los Angeles long enough you start hearing stories about things that have happened on it that get your mind going.” In an interview with the Filmographers, he told the story of how his character in “Twin Peaks” was a name plucked from Billy Wilder’s
“Sunset Boulevard,” which very well may have been inspired by Wilder’s
commute to Paramount that passed the Hollywood streets Gordon and
Cole. And the dissolve from Naomi Watts’ face in “Mulholland Drive” to rows of palm trees has become a classic shot for representing his work and his love for the city, hopeful and drenched in his beloved sunlight.

Much like L.A., the artistic legacy of Lynch is difficult to encapsulate — trying to describe his work is like attempting to explain a dream. His films so strongly defied categorization that they necessitated an eponymous term: Lynchian.

The Hollywood Sign, as seen from Beachwood Drive. (Myung J. Chun / Los Angeles Times)

Palm trees, which Lynch often used as a symbol in his films, tower above the city. (David McNew / Getty Images)

Unsettling to many, beloved by more, he refused to explain his work, allowing and challenging his audience to parse through it and imbue their own meanings and discoveries. The reward, for him, was in the doing, in taking a daydream and forming it into an idea that he could shape into something real in the world, blending the mundane and the macabre.

Here are some places around L.A. that offer a glimpse into Lynch’s world.

Note: the Lynch compound and all other residential locations mentioned are all private residences, and not to be disturbed.

Classic diners, especially Bob’s Big Boy Burbank

Lynch would often to go to Bob’s Big Boy in Burbank to meet with creative collaborators, or simply sit and think

(Jill Connelly / For The Times)

Lynch was fond of the straightforwardness of a diner, and he considered them to be ideal for creative thinking and work meetings. In his book “Catching the Big Fish,” he said: “I’d have a milkshake and sit and think. There’s a safety in thinking in a diner. You can have your coffee or your milkshake, and you can go off into strange dark areas, and always come back to the safety of the diner.”

One of the most viscerally terrifying scenes of “Mulholland Drive” takes place behind the dumpster at the abandoned Caesar’s diner in Gardena. And he liked having meals with his family at what is now the Denny’s in Gower Gulch, a place where aspiring cowboy actors once congregated. But the most significant diner in Lynch’s legacy is Bob’s Big Boy in Burbank. He spoke of going to Bob’s almost every day from the mid-’70s until the early ’80s. In an interview with Charlie Rose, Lynch claimed he saw a man at the counter who inspired the Frank Booth character in “Blue Velvet.”

Signs of Lynch at Bob’s Big Boy: His headshot displayed alongside actors Kyle MacLachlan and Laura Dern; a milkshake at the counter. (Stephanie Breijo / Los Angeles Times)

Lynch’s order included a chocolate milkshake and coffee, the cold sugar and caffeine fueling his ideas. He believed 2:30 p.m. was the perfect time to order the milkshake, specifically ”after the lunch rush when the machine had enough time to chill, the silver goblet would be frosted when it arrives at the table, and the ice cream is almost like butter, like cold butter, it’s almost solid, and it has specks of chocolate in it, and it almost gets a frost on it when it arrives,” he said in a conversation with the Filmosophers.

Today there is a framed photo of Lynch over the door of the Burbank location, indicating that his love for the restaurant was mutual. After his death, Bob’s became the de facto location for fans needing to pay homage to the beloved director, piled high with tributes of cigarettes, cans of Coke, donuts, slices of pie and tear-stained letters of gratitude.

Franklin Canyon Park

Leaves illuminated by sunlight under a canopy of trees in Franklin Canyon.

(Blake Fagan / For The Times)

Franklin Canyon Park was once a summer retreat for the Doheny family, who built a Spanish-style home at the base of the canyon in the 1930s. The 605 acres were purchased by the National Park Service in 1981.

A frame overlooks the water in Franklin Canyon, which stood in for many interstitial woodsy scenes in “Twin Peaks.”

(Blake Fagan / For The Times)

The mysterious woods are an essential element in Lynch’s world of “Twin Peaks.” While the pilot for the TV drama and the film prequel “Fire Walk With Me” were filmed in Washington (and there’s lots of scenic footage from the Pacific Northwest throughout the series), much of the show was filmed on Southern California soundstages. And for the many interstitial scenes in the woods, Franklin Canyon and its lush forest stood in. Lynch and co-creator Mark Frost opened an esoteric window to prime-time viewers with the concept of the Black Lodge. The filming location of its entrance, known as Glastonbury Grove in the show, is in Franklin Canyon Park.

Doheny landmarks

In an interview with Charlie Rose, Lynch stated that “everybody is a detective and the unknown is a magnet.” He invited his audiences to look at a door and investigate what lurks behind it. This philosophy ties to his connections with an L.A. legacy, one that contains its own mysteries and contrasts: the Doheny family and its historic properties:

The Doheny Mansion

Glimpses of the Doheny Mansion, clockwise from left: the music room; a stained glass sky light; a sculpture adorns a table in the Pompeian Room. (Blake Fagan / For The Times)

The sprawling and opulent Doheny Mansion, now part of the Mt. St. Mary’s campus, was built in 1899 by architects Theodore Eisen and Sumner Hunt. Patriarch and oil baron Ed Doheny and wife Estelle acquired the home in 1901 and the Doheny family made it their home for nearly 60 years. Lynch used the mansion as the home for Laura Dern’s character in his 2006 film “Inland Empire,” and also filmed an Armani commercial there in the 1990s.

Greystone Mansion

The central courtyard at the Greystone Mansion.

(Blake Fagan / For The Times)

In the 1970s, Lynch was a fellow at the newly founded American Film Institute, based at Greystone Mansion at the time. He eventually took over the mansion’s stables, converting them into a production studio and occasionally (and illegally) living there while he filmed his debut feature, “Eraserhead.” He slept in the room that became the bedroom for the character Henry. “I’d lock myself in there in such a way that from the outside it looked as if no one could possibly be inside,” Lynch said in Mark Altman’s 1990 book “Twin Peaks: Behind The Scenes.” “We’d put these special blankets up on the walls to deaden the sound for shooting and it was quiet.”

Scenes from the Greystone Mansion. (Blake Fagan / For The Times)

Greystone Mansion carried an air of secrecy in itself. Built in 1928 by Gordon Kaufmann, and a gift from Edward Doheny to his son Ned and his family, the stately Tudor Revival was home to a horrific tragedy. Months after moving in, Ned and his lifelong friend and personal secretary, Hugh Plunkett, were found in a guest bedroom, victims of a murder-suicide. While their motives were never defined for certain, the accepted belief was the tragedy was tied to their involvement in the Teapot Dome political corruption scandal and Plunkett’s looming testimony that could’ve implicated the Dohenys.

The city of Beverly Hills purchased the grand manor in 1965 and installed an underground reservoir, and leased the property to the newly formed American Film Institute in 1969 for $1 a year, with the agreement that the school would maintain the property. Greystone was dedicated as a public park in 1971 and is now listed on the National Register of Historic Places.

L.A.’s Transcendental Meditation centers

After moving to Los Angeles, Lynch started visiting the Spiritual Regeneration Movement Center in Santa Monica and it altered his life. Here he learned the methods of Transcendental Meditation, developed by Maharishi Mahesh Yogi, with the focus of seeking enlightenment. His first meditation session was July 1, 1973, and from there, he practiced twice a day, every single day.

“Before I started meditating I worried that doing it would make me lose my edge, and I didn’t want to lose the fire to make stuff,” Lynch wrote in “Room to Dream.” “I found out it gives you more fire to make stuff and more happiness in the doing and way more of an edge. People think anger is an edge, but anger is a weakness that poisons you and the environment around you.”

Lynch became a staunch devotee of Transcendental Meditation and spoke about the positive effects he believed it could have for everyone, particularly veterans, those suffering from PTSD and women who have survived violence. He started the David Lynch Foundation for Consciousness-Based Education and World Peace in 2005 to offer children throughout the world the opportunity to learn to meditate. The foundation recommends several Transcendental Meditation centers in Los Angeles, including the center on Hillhurst Avenue in Los Feliz.

The Pink House, David Lynch’s compound in Hollywood Hills and his final resting place at Hollywood Forever

The historic Tower Theater, built in 1927, was converted into the Apple Tower Theatre.

(Mel Melcon / Los Angeles Times)

On screen, Lynch loved the old glamour of Los Angeles — the majestic Tower Theater in downtown Los Angeles was used in “Mulholland Drive,” “Inland Empire” and “Twin Peaks: The Return.” His characters lived in equally memorable spaces, with the women of “Mulholland Drive” going from the grandeur of the Il Borghese apartments (architect Charles Gault, 1929) to meet tragic endings in the fairy-tale-esque “Snow White” apartments (architect Ben Sherwood, 1931) that are believed to have also inspired Walt Disney. (It’s worth noting that this theater has been refurbished into an Apple store. A beautiful achievement of preservation work, but it’s hard not to see the consumer-driven sleekness and think about a theme in Lynch’s work: the terrors lurking inside a changing America.)

Personally, Lynch loved modern architecture, and experienced love at first sight with the home he purchased in the mid-’80s in the Hollywood Hills. The Pink House, as Lynch referred to it, was designed by Lloyd Wright Jr. for writer Beverly Johnson in 1963. Lynch commissioned Eric Wright (Lloyd’s son and Frank Lloyd Wright’s grandson) to add a pool and pool house in 1991. He told the Wall Street Journal that he preferred Lloyd Wright’s work over his father’s, explaining, “Lloyd Wright is more minimal. More pure. But just as beautiful.”

The house is semi-secluded against a lush hill, beneath the actual Mulholland Drive, and has a subtle chevron pattern detail that runs throughout the house, similar to the floor of the “Twin Peaks” red room. Lynch loved this house and spent much of his time in Los Angeles here, particularly in his later years. He gradually added two neighboring properties to form what would become the Lynch compound.

A “Twin Peaks” coffee cup that was gifted to David Lynch by a fan.

(Chris Pizzello / Invision / AP)

When filming began on “Lost Highway,” he struggled to find the right location for the home of the lead characters, Fred and Renee Madison. This set piece would be crucial to building their sense of dread. Lynch then had an idea: He would use the Brutalist structure in his compound. He transformed the interior and altered the exterior windows, making it difficult for the characters to see the dangers circling outside. “Some people open windows of houses, but I like interiors and don’t care about windows,” Lynch wrote in “Room to Dream.” “I like to go deeper into a house and find things underneath things.”

For the next two decades, the compound was Lynch’s dream space where he could create anything he imagined, including his 2000s-era daily weather reports for local radio stations and his website, a hobby he revived during 2020. Homebound the last few years because of emphysema, he was forced to relocate during the Sunset fire in January 2025, and died shortly after. David Lynch’s final resting place is at Hollywood Forever, across from the Fairbanks Lawn where movies are shown, under the stars.

I’m confident that I’ll make my way through The Times’ best breakfast burrito list and devour another couple dozen worthy candidates before I’ll ever have the chance to ride on that chronically delayed LAX people mover.

“Ninety-nine percent done”? Sounds like the answer my kids would give me the night before a big homework assignment was due.

Maybe our next breakfast burrito list can be “Best breakfast burritos near John Wayne Airport.” Or Hollywood Burbank. Or Long Beach. The possibilities are endless. No doubt we have got time until that “one percent” gets checked off.

I’m Glenn Whipp, columnist for the Los Angeles Times, host of the Envelope newsletter, and the guy pondering a “DTF Los Angeles” where the characters inch along the LAX horseshoe, kindling all manner of sinister thoughts.

Cover story: ‘DTF St. Louis’

(Erik Carter / For The Times)

Are TV viewers a little more judgmental when it comes to complicated women?

Linda Cardellini would always know where someone was on their “DTF St. Louis” viewing journey based on their vibe when they approached her.

“If they were halfway through the show, they usually weren’t warming up to Carol and you could feel that energy,” Cardellini says, talking with me for a recent Envelope cover story on the limited series. “But if they were through with the show, that energy changed. Sometimes you could tell they felt bad that they didn’t like her in the first place.”

Carol, as you know if you’ve watched “DTF,” the season’s best limited series, is an overworked suburban mother forced to umpire Little League games because her job at Purina doesn’t pay enough to cover the bills. She’s married to gentle giant Floyd (David Harbour), an ASL interpreter and a sensitive stepfather to her son. But it’s a sexless marriage, so she turns to local weatherman Clark (Jason Bateman), who possesses a vitality long absent in her husband.

“DTF St. Louis” is ostensibly a murder mystery. Floyd dies in the first episode. Writer-director Steven Conrad employs a fair bit of misdirection, pointing our suspicions first to Clark and then to Carol. Since money is tight and Floyd had an insurance policy, Carol is a logical enough person of interest. We learn that she has a criminal record. And she was cheating.

“When I was reading the episodes, I thought, ‘Oh, OK. It’s going to be Carol, even though there’s so many clues telling you that it’s not her,” Cardellini says. “But we’re conditioned to think that. Like, ‘She had to be after the money,’ even though she never accepts any gifts as she’s struggling financially. Everyone just believed the worst in her.”

Granted, Carol could be a little brusque with service workers, and her passive-aggressive approach to police questioning (“Can you speak up?”) was a master class in control and manipulation that I plan to use if I’m ever interrogated for some crime I’m sure I did not do. (Unless it’s somehow related to picking someone up at LAX. Then all bets are off.)

Reviews for “DTF” too often would note how it’s a poignant look at male loneliness in the suburbs when, in fact, Carol is the most isolated character on the show.

“Carol is immensely lonely, but she’s so burdened by the heavy demand of keeping this household afloat that she doesn’t have the luxury to notice that she doesn’t have a friend,” says Conrad. “The job of bailing water is hers alone.”

In that respect, Carol brings to mind Skyler White on “Breaking Bad” and Carmela Soprano from “The Sopranos,” forlorn women dealing with the man-child they married and getting flak from viewers for being a killjoy.

By the end of “DTF,” we find we should have been on Carol’s side all along.

“It’s a beautiful magic trick,” says co-star Bateman.

Just the latest feat of illusion from the talented Cardellini, one that could result in her first Emmy win next month.

Thousands of people are waiting for aid in the eastern Indonesia region hit by a powerful earthquake that killed dozens of people, as rescuers combed through collapsed buildings in search of people trapped beneath the rubble.

Late on Monday, the death toll was raised from 54 to 68, said Berton SP Panjaitan, an official at Indonesia’s disaster mitigation agency, adding that more than 200 ⁠have been injured.

Many residents on Flores island in East Nusa Tenggara province spent Monday searching for loved ones and waiting for aid to arrive in communities still cut off by the magnitude 7.7 earthquake.

During Indonesia’s Independence Day ceremony in the capital, Jakarta, President Prabowo Subianto asked participants to pray for people affected by disasters in East Nusa Tenggara and other parts of the country while leading a nationwide moment of silence honouring the nation’s independence heroes.

More than 1,300 homes were damaged when the quake struck East Nusa Tenggara on Saturday. Nearly 250 were destroyed on Flores alone. Dozens of public buildings, including educational and health facilities as well as government offices, were also affected.

The province’s governor declared a 14-day state of emergency on Sunday.

About 12,800 people were unable to return to their homes by Monday morning and were dispersed among temporary shelters in several towns on Flores, Berton Suar Pelita Panjaitan, spokesman for Indonesia’s BNPB national disaster agency, told the AFP news agency.

Thousands of people on Flores camped outside collapsed homes under tarpaulin tents overnight into Monday, sleeping outside because of the danger of more aftershocks.

“Our houses are no longer liveable because many have collapsed and are full of cracks, so we can’t go inside any more,” Mbay resident Junaidin, 32, told AFP outside his self-made tent that was sleeping about 30 people.

For many residents, the disaster revived painful memories of a powerful earthquake and tsunami that struck Flores in 1992, killing about 2,500 people.

“We’re on our own here,” said Junaidin, who like many Indonesians has one name. He expressed frustration with a perceived lag in the arrival of aid.

“As for help from the government, there hasn’t been any – no tents, no medicine, no food, no drinking water, nothing,” Junaidin said.

The Indonesian air force said it was bringing 13 tonnes of emergency aid airlifted in two Hercules transport planes and a Boeing.

It was also deploying helicopters to bring emergency supplies directly to survivors in isolated communities, the Antara state news agency quoted the commander of El Tari airbase in Kupang on Timor island as saying.

The aid included food, clothes, clean water and emergency medical equipment.

The military has deployed personnel to help with distribution in key hubs.

Rescuers were combing the stricken area for victims despite not receiving any reports about missing people, search and rescue official Fathur Rahman told AFP on Monday.

Indonesia will also build an emergency field hospital in several areas to treat the injured, Deputy Health Minister Benjamin Paulus Octavianus said.

Al Jazeera’s Jessica Washington, reporting from Ruteng in East Nusa Tenggara, said medical staff there had to quickly assemble a tent hospital after the hospital was damaged.

While doctors said they have a sufficient supply of medicine, they weren’t able to get to essential equipment that allows them to perform blood tests and X-rays, which means they are “having to treat patients in very difficult conditions”, Washington said.

Many elderly patients “are being exposed to the intense heat of the daytime” and the “rather cold” evening temperatures, which complicates doctors’ ability to treat them, Washington added.

Indonesia experiences frequent earthquakes due to its location along the Pacific “Ring of Fire”, an arc of intense seismic activity stretching from Japan through Southeast Asia and across the Pacific basin.

A magnitude 9.1 tremor in 2004 struck off the coast of Sumatra and triggered a tsunami that killed 220,000 throughout the region, about 170,000 of them in Indonesia.

It was one of the deadliest natural disasters in recorded history.

MILAN, Italy — Thieves stole four works attributed to Renaissance painter Antonello da Messina worth millions of euros from the regional museum in the city of Messina in Sicily while crowds gathered across town for the traditional Assumption holiday celebrations, cultural officials and Italian media said Sunday.

The thieves bypassed alarm and security systems on Saturday evening at the MuMe museum, making off with three of the five surviving panels of the San Gregorio Polyptych, dated to 1473, as well as the double-sided panel depicting the Virgin Mary and the dead Christ in Pietà, which was removed from an armored display case, the news agency LaPresse reported.

They removed all five panels of the San Gregorio Polyptych from their frame, but abandoned two behind a wall while fleeing.

Art expert Alberto Fiz estimated the value of the stolen works at $81 million to $92 million.

“We are devastated by what happened. They were two of Antonello da Messina’s most important and best-known works. It is a tremendous loss for the museum, the city, the community and the art world,” MuMe director Marisa Mercurio told the news agency ANSA.

Mercurio said that the theft occurred just before 10 p.m., and that the alarms were working and the guards were on site. She described the works as central to the region’s heritage.

“These are not merely works by Antonello da Messina,” she told Sky TG24. “They are works that hold considerable significance in terms of our identity, as well as, of course, their artistic and cultural value, because they are works by our very own Antonello da Messina.”

Messina’s top culture official, Enzo Caruso, called the theft “more than a loss” and “a disaster.”

“Messina without Antonello is deprived of the very essence of the greatest artist of the European Renaissance,” Caruso told Sky, calling for the swift recovery of the stolen works.

Caruso noted that international interest in the artist had intensified since Italy’s Culture Ministry acquired Antonello’s devotional painting “Ecce Homo” for $14.9 million through negotiations with Sotheby’s in New York this year.

Lynda Albertson, an art crime analyst, said the works are instantly recognizable, impeding any effort to sell them through reputable channels.

“Stealing an Antonello may be far easier than selling one. If these are ordinary thieves, they will soon discover that — to their cost,” Albertson, who is the chief executive of the ARCA art crimes research association, told the Italian daily La Repubblica. She said such famous artworks often pass from one criminal to another, serving as collateral for other illicit activity.

The museum was closed Sunday while investigators gathered evidence. Neither museum officials nor the Carabinieri national gendarmerie could immediately be reached for comment.

The Ferragosto holiday, which marks the feast of the Assumption of Mary, marks the height of the Italian summer holiday season, and was being celebrated in Messina with a procession that culminated in prayers and a blessing in the main Piazza Duomo around the time of the heist.

The theft comes just days after police in the northern Italian city of Parma announced that they had recovered three stolen artworks by Renoir, Cézanne and Matisse worth about $11.5 million. Five people have been detained in the March 22-23 theft from the Magnani Rocca Foundation located in the Parma province.

Barry writes for the Associated Press.

The school year is beginning in the Los Angeles area, with LAUSD back this week and Pasadena Unified School District starting Monday. My 10-year-old daughter just got her new backpack and shoes and is aflutter about her return for her final year of elementary school. But she’s sad about one thing in particular: Last year her school had to choose to keep PE or art. It voted for art. She loved both, and didn’t think the choice was fair. I asked her to write about it and said I’d share her thoughts with readers.

For context, late last school year PUSD laid off more than 150 full-time-equivalent certificated positions. According to United Teachers of Pasadena President Jonathan Gardner, that number included almost 25 art, music, dance, orchestra and choir teachers. It also included librarians, coordinators for special education and counselors, and, of course, plenty of irreplaceable regular teachers. It’s a bitter pill for educators and parents to swallow, especially when the country is spending billions on an ill-advised war in Iran that was never approved by Congress and many people in the city are struggling to afford groceries and healthcare.

My daughter, Henri Boo Biller, gets into that a bit in her essay:

“Because the district couldn’t pay for certain activities and classes anymore, subjects like art, music and PE have ended. Some people have protested about these layoffs and budget cuts, but the children are especially sad.

Kids love and adore some of these teachers that have been teaching them how to draw or play a sport or musical instrument. Taking away these activities is ending certain opportunities for kids. For example, kids love to run and play just as much as they love to draw and sculpt. Taking away one of the two wouldn’t mean that the kid doesn’t still want to do it!

One of the subjects they’ve been taking away in some schools is music. This is a problem because some kids can’t afford instruments or lessons from an expensive instructor. That’s why music is so important, to let kids learn an instrument without having to pay big bucks for it. Taking away that is taking away a giant opportunity. The instruments the kids are learning, such as trumpet, trombone, flute, guitar, saxophone, cello and violin are expensive instruments that are hard to find, or at least hard to find in good condition.”

I’ll interject here. This is true. My family benefits from a school-loaned saxophone for my daughter.

In her essay, my kiddo interviewed her neighbor and best friend who lives across the street, asking her what she thought should be done about these budget cuts. Her answer broke my heart.

Q. What do you think we can do about these changes?
A. Have more fundraising events throughout the year. As well as school sales, bake sales and lemonade stands.

My daughter continues, “As [my friend] mentioned, we could hold more school sales like bake sales and lemonade stands. But we could also think about why this is happening. The money that is usually going to schools across the country is instead being used by the government to buy more weapons for the war in Iran [editor’s note: we have discussed that one thing being funded doesn’t necessarily take away from another, and that it is really a matter of what we prioritize as a society] … and because of this PUSD and other districts are having to take away certain programs. Some of these programs are even their main selling point! Programs like art, music and PE are being shut down, ending certain opportunities for children. We can try to get some of that money back, like the interview stated, or protest to show the world we mean business. Thank you for your time. Next week I will come back with an equally intriguing topic. Have a nice rest of your week! I’m Henri B. Biller, signing out.”

As her mother, I vote for protest! We do mean business, right?

I’m arts editor Jessica Gelt sending my love to the teachers of the city. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Battleship Potemkin
Sergei Eisenstein’s epic 1925 silent film screens with the world premiere of a live music score for string quartet and vocal quintet composed and conducted by George Sarah. Sarah also performs on synths/electronics, joined by soprano Jenna Hansen, mezzo soprano Anna Caplan, tenors George Sterne and Sean McDermott, Kaija Hansen on violin/viola, Katie Kim on violin and cellists Carolyn Regula and Paul Hyun.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SUNDAY

Jas Ahluwalia and Kamaljeet Ahluwalia of Absolute Focus.

(Sierra Madre Playhouse; courtesy of the artist)

Absolute Focus + Chris Votek
The husband-and-wife duo of Santoor virtuoso Kamaljeet Ahluwalia and tabla master Jas Ahluwalia are joined by cellist Votek for an afternoon of traditional Hindustani raga.
4 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Pacific Chorale’s Choral Festival
The annual event brings hundreds of community members together with the voices of the Chorale for Maurice Duruflé’s “Requiem.” Robert Istad conducts the Pacific Chorale’s Festival Chorus.
5 p.m. Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificchorale.org

TUESDAY

Gershwin, Bernstein & More
Gianandrea Noseda and the National Symphony Orchestra make their Bowl debut with music from “West Side Story,” “An American in Paris” and Dvořák’s “From the New World.”
8 p.m. Hollywood Bowl, 2301 N Highland Ave., Hollywood. hollywoodbowl.com

WEDNESDAY

An Enemy of the People
Director Bart DeLorenzo has reimagined Henrik Ibsen’s classic play to highlight its contemporary resonance in a society in decline. The cast includes Lauren Campedelli, DeJuan Christopher, Dennis Dun, Clay Hollander, Jason McBeth, Cara Mitsuko and Jay Paulson.
Previews, 8 p.m. Wednesday-Aug. 21; opening night, 8 p.m. Aug. 22; 8 p.m. Fridays and Saturdays and Wed. Sept. 16; 3 p.m. Sundays through Sept. 27. Odyssey Ensemble Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Herbie Hancock performs at the 2026 New Orleans Jazz & Heritage Festival.

(Amy Harris / Invision / AP)

Herbie Hancock Celebrates Miles Davis
The Grammy-winning keyboardist has recruited a stellar lineup including two of Miles Davis’ former bassists — Ron Carter and Marcus Miller — trumpeter and composer Terence Blanchard, former Davis saxophonist Kenny Garrett, bassist Christian McBride and conductor-arranger Vince Mendoza, to honor Davis through his music.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Presented in VistaVision
A tribute to the cinematography technique created by Paramount Pictures in 1954. Its popularity waned in the 1960s but contemporary filmmakers such as Brady Corbet, Yorgos Lanthimos and Paul Thomas Anderson have embraced the format. The series begins with John Ford’s “The Searchers” (1956) in 70mm on Thursday, and includes “North by Northwest” (1959), also in 70mm, and “One Battle After Another” (2025), the first film shot in VistaVision to win the Academy Award for best picture.
7:30 p.m. Thursday; the series continues through Aug. 31. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Gustavo Dudamel conducts his final concert in Disney Hall as L.A. Phil music director on June 7.

(Jason Armond / Los Angeles Times)

Celebrating Gustavo at the Bowl
As Gustavo Dudamel departs L.A. for New York, he goes out with a bang of four nights with four different programs: Beethoven Ninth with the L.A. Phil and YOLA on Thursday; Gustavo’s Fiesta, with Los Tigres del Norte, singer-songwriter Lila Downs, Mariachi Reyna de Los Ángeles, singer Sílvia Pérez Cruz, La Sonora Dinamita and Los Panchos, joining with the L.A. Phil for a night of Latin music on Aug. 21; Foo Fighters with the L.A. Phil and YOLA on Aug. 22; and last, but not least, “A Concert for Venezuela: A Benefit to Support Earthquake Relief” on Aug. 23.
8 p.m. Thursday-Aug. 22; 7 p.m. Aug. 23. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

— Kevin Crust

Retrospective

L.A. Times arts coverage from the past …

Lynda Benglis. “MI,” 1984. Glass, sandcast, powdered; ceramic oxides, metal inclusions 13 1/2 x 17 x 16 in. Los Angeles County Museum of Art, gift of Daniel Greenberg and Susan Steinhauser.

(Museum Associates / LACMA; Lynda Benglis / VAGA, New York)

Shattering expectations

Aug. 6, 2006

It was 1986 and Daniel Greenberg and Susan Steinhauser were 10 years into their passion for collecting glass art. Their home was lined with the kinds of works they loved.

That was when Stephanie Barron, a curator at the Los Angeles County Museum of Art, called to suggest that they look at an unusual piece at Margo Leavin Gallery in West Hollywood. Titled “MI,” it was a thick twist of sand-cast glass with a roughened texture reminiscent of glass unearthed from ancient sites. Even more unusual, the artist was Lynda Benglis, better known for avant-garde sculpture and performance and video work.

It was as if glass, as an artistic medium, had reached a critical juncture. “A whole group of artists who were not part of the glass movement but who worked in glass suddenly appeared,” Greenberg says.

He and Steinhauser viewed “MI” with puzzlement at first, then respect and finally appreciation. “This was part of our learning experience,” he said. “It expanded our horizons.” The couple helped LACMA purchase the piece. READ MORE

— Scarlett Cheng

Culture news and the SoCal scene

Anthony Hopkins at Hotel Bel-Air in Los Angeles on Aug. 1.

(Christina House / Los Angeles Times)

Anthony Hopkins’ first love was music, and, at 88, he’s returned to it. Later this month, the two-time Academy Award-winning actor will release his debut album, “Life Is a Dream,” on Decca Classics, featuring London’s Philharmonia Orchestra and conducted by Gustavo Dudamel.

Dudamel will play his final show at the Hollywood Bowl later this month as the music and artistic director of the L.A. Phil, and although the city has had years to get used to the idea of losing him, it still stings. In a tender, thoughtful column filled with insider information, Times classical music critic Mark Swed looks back at Dudamel’s arrival in L.A. more than 20 years ago to track how the Venezuelan wunderkind went from “rising star to star to savior.”

Swed also broke the news that German composer and conductor Matthias Pintscher will be Los Angeles Chamber Orchestra’s new music director, replacing Jaime Martín beginning in the 2027-28 season. “Pintscher, who is 55, says he is not ready to make any grand statements about LACO other than being eager to explore West Coast music and that he loves combining old with everything else,” Swed wrote.

Michael Shaeffer as King Aerys II Targaryen in the “Game of Thrones: The Mad King,” which opened Saturday at Royal Shakespeare Theatre.

(Johan Persson)

The wildly popular “Game of Thrones” franchise, which began in book form and spawned one of HBO’s most successful series of all time, is branching out to the stage. A 3.5-hour play, “Game of Thrones: The Mad King,” opened last weekend at the Royal Shakespeare Theatre in Stratford-upon-Avon. Author George R. R. Martin was in attendance to celebrate, and audiences seemed delighted by the expansion of the fantasy world-building effort, with many fan questions answered.

The Lucas Museum of Narrative Art this week announced its flagship restaurant: Skywalker Grill, inspired by founder George Lucas’ Skywalker Ranch in Marin County. The restaurant is located on the top floor of the museum with sweeping views of the city. It will be open for lunch, dinner and weekend brunch with hours that last long after the museum closes. Think American cuisine with California-sourced ingredients, including a signature Skywalker Ranch Wagyu burger.

Self Help Graphics & Art in Los Angeles.

(Sarahi Apaez)

Self Help Graphics & Art announced the launch of a $6-million capital campaign for the completion of its permanent home at 1300 E. 1st St. in Boyle Heights. The fund is intended for the final phase of a major renovation that will turn the space into a destination arts and culture center. The goal is to complete the project by the end of the year.

Three public art pieces by street artist Banksy have cost British taxpayers more than $200,000, as public authorities work to remove, manage and protect the art, a freedom of information record request obtained by the BBC recently found.

— Jessica Gelt

And last but not least

One of L.A.’s most beloved taco trucks now has a brick-and-mortar home in Studio City.

For every actor, musician, writer and artist who has become a wealthy and enduring celebrity, exponentially more of them have enjoyed a brief, shining moment, never to be heard of again. What separates those who last from those who fade away? Is it luck, talent, drive, destiny? All of the above?

It’s an intriguing question that may have no definitive answer, but one that director Kent Jones (2018’s acclaimed “Diane”) and Oscar-nominated screenwriter Samy Burch (“May December”) lovingly and lyrically consider in the often first-rate “Late Fame.” The film is based on an 1895 novella by Arthur Schnitzler (also author of the book that became “Eyes Wide Shut”), which went unpublished until 2014.

A quietly captivating Willem Dafoe plays Ed Saxberger, a New York post office veteran of 37 years in a seemingly satisfying if decidedly low-key existence. For him, it’s work, then maybe a game of pool with his blue-collar buddies at a local bar (though he’s six years sober) and a solo return to his Greenwich Village walk-up.

That is, until one night, he’s approached outside his apartment building by a somewhat affected but seemingly earnest young man who goes by his last name, Meyers (Edmund Donovan). With his elevated speech, tony air and throwback attire, he’s like someone from another era; you could see him as one of Jay Gatsby’s pals or a bon vivant who drops by on “Downton Abbey.”

Meyers proceeds to tell an astonished Ed that he’s a huge fan of his long-forgotten 1979 poetry collection entitled “Way Past Go,” the postal worker’s fleeting brush with literary success. “They just slap you across the face with their style and with their relevancy,” extols Meyers of the poems. “They’re timeless.”

Really, what writer, no matter how detached from their past, could resist that kind of sweet talk?

A meet-up with Meyers’ “artistic community,” a circle of so-called intellectuals known as the Enthusiasm Society, leads Ed to humbly dip a toe back into his vanished creative side. He’s not unaware that Meyers’ mostly 20-something male friends have — like many — romanticized the gritty abandon of lower Manhattan’s bygone literary scene and perhaps Ed’s tenuous place in it. They might be poseurs tossing around references to Ginsberg and Bukowski, but the welcome mat the group offers Ed is enticing and inspiring.

Still, a visit to Meyers’ sleek apartment, admittedly paid for by his parents, confirms for Ed the kind of youthful privilege at play here, so unlike the scrappier downtown bohemia of his own artistic heyday.

The wild card in the Society is Gloria (Greta Lee, dazzlingly good), an impish sprite who’s hard to pin down. Is she really a working stage actor? Ed gets swept up in her performative antics and elusive, larger-than-life allure. (She’s older than her fellow Society members but decades younger than Ed.) When they develop a teasing flirtation, it’s one of the less credible turns here, given how authentic Ed is — and how dubious she appears (though some truth on that front will later unfold).

This tilt toward Gloria causes the film to lose its way a bit, pulling focus from the more potentially vital mentor-disciple dynamic between Ed and the anxious, navel-gazing Meyers. Plus, Donovan is excellent here, so less of him is, well, less.

That said, there’s a bravura second-act scene that finds Gloria performing an impassioned version of the 1929 Bertolt Brecht and Kurt Weill torch song “Surabaya Johnny” for an appreciative cabaret audience, one that includes a rapt Ed. It verifies Gloria’s singing talent and proves a perfect match for her showy, cagey persona: the love child of Marlene Dietrich and Sally Bowles.

If the story has a through line, it concerns the planning and execution of an evening of live readings from the Society’s works, with a new poem from Ed as its centerpiece. A few of the obstacles layered in — Ed’s struggle to write and some show-night personality conflicts — feel a tad obligatory. But the event itself has its high points, including the piece Ed finally reads.

In addition, an awkward meeting between Ed and a smooth literary agent (Jake Lacy), along with a mini-subplot involving phone calls from Ed’s frustrated sister about their dying brother, come off slightly wedged in. Not much payoff there.

No matter. There’s wisdom and depth to the film’s themes of growing old, dashed dreams and the magic of rediscovery, plus a deliciously ironic final twist. Jones manages his superb cast with aplomb and cinematographer Wyatt Garfield evocatively captures lower Manhattan’s wintry, burnished glow.

The Trump administration has moved heavy-duty construction equipment into Big Bend National Park and started work on a border security project despite bipartisan concern about damage to the environmentally sensitive area of west Texas.

Bulldozers and other machinery appeared last week in the remote park, which sits about 300 miles southeast of El Paso and includes one of the least crossed stretches of the U.S.-Mexico border, according to Laiken Jordahl, a national public lands advocate for the Center for Biological Diversity, which has sued the Biden and Trump administrations seeking to halt border-wall construction.

Jordahl said he and other activists watching the work have seen bulldozers plowing through vegetation “clearing a path for the barriers, the wall or whatever is going in.”

U.S. Customs and Border Protection “is building an access road, improving existing roads, installing detection technology and placing vehicle barriers in limited, strategic locations,” Commissioner Rodney Scott, the agency’s top official, said in an email Thursday. “We are securing this park to protect its legacy — keeping it safe, secure, and pristine so American families can enjoy the beauty of our country, free from fear of cartel activity.”

The Trump administration is moving ahead with the project over the objections of not just environmental activists and others opposed to the crackdown on immigration, but also local residents, many of them Republicans who otherwise support President Trump, as well as retiring GOP Sen. John Cornyn. They note that the rugged terrain — mostly desert with steep ravines and scrubland covered in creosote bushes and prickly pear cactus — serves as a natural barrier from anyone trying to cross from Mexico, making the infrastructure unnecessary.

They say the construction and equipment will mar the landscape and imperil the animals who live in the park, including javelinas, ringtails, mountain lions and desert bighorn sheep.

In June, Homeland Security Secretary Markwayne Mullin formally waived all environmental laws and reviews that could otherwise slow any work in the park.

Texas Gov. Greg Abbott’s office has said he supports using every tool available to help deter illegal immigration, including deploying technology in rugged and isolated areas such as Big Bend.

Trump has long pledged to build a wall along all of the roughly 2,000-mile U.S. border with Mexico, though Customs and Border Protection has repeatedly said it wouldn’t build his preferred 30-foot barrier in the environmentally sensitive park.

Earlier this year, the administration issued a $1.7-billion contract for the project in Big Bend. The vehicle barriers set to be installed are typically 5-foot steel posts set a few feet apart and intended to block cars or trucks from crossing.

The park is part of the Border Patrol’s Big Bend Sector, which has for decades been one of the least crossed areas along the whole of the border. In June, agents there made 148 arrests. Since Oct. 1, the start of the government’s fiscal year, agents have made 1,509 arrests, about 1.5% of all apprehensions along the Mexican border, according to Customs and Border Patrol arrest data.

Brandon Herrera, the GOP candidate for a House district that includes the park, met with White House and Department of Homeland Security officials in March to pitch a less-invasive “alternative solution.”

In a letter this month, Cornyn asked Mullin to meet with local officials who have voiced concerns over the project, citing complaints about its effect on the region’s natural beauty, wildlife, cultural sites and economy. Cornyn wrote that his “constituents believe that the 1,000-foot riverbank cliffs and remote Big Bend terrain offers its own source of deterrence for any illegal migrants crossing into the United States.”

James Talarico, a Democratic state representative running to succeed Cornyn in the U.S. Senate, echoed the Republican’s concerns and called the project irresponsible spending.

“This monument to corruption represents wasteful, irresponsible government spending that no Texan asked for, enriching wealthy contractors without making Texans one bit safer,” he said.

Texas’ Big Bend region relies on tourism as an economic driver, with more than 568,000 visitors to the national park in 2025. Local businesses in Terlingua, a small gateway town west of the park, have revolted against the proposed wall, with workers at one restaurant wearing shirts that read “No Al Muro” — No to the Wall.

Caldwell and Lovinger write for Bloomberg.

A salvage operation is under way to stabilise the stricken tanker behind a major oil spill off Oman, the risk management company coordinating the effort has said.

The announcement by Ambrey on Thursday came a day after Oman’s environmental authority confirmed that oil from the Caroline Bezengi had reached beaches along the sultanate’s central coast.

The tanker, a suspected member of Russia’s shadow fleet used to transport sanctioned Russian oil, has been leaking crude into waters near the Hallaniyat archipelago since June, when the ship’s crew reported an unidentified explosion.

Ambrey said it was working with Omani authorities and that its services had been engaged as part of a “significant international response” that included salvage vessels, aircraft and specialist personnel.

Apart from Oman and an unnamed “leading international oil spill response company”, Ambrey did not elaborate on which other countries or firms were involved in the effort to salvage the vessel, which has flown the flags of states including Cameroon, Palau and Liberia.

The International Maritime Organization (IMO) – the United Nations maritime agency – said on Thursday that it was “closely monitoring” the situation and would “continue to support ongoing efforts”, without providing further details.

The International Oil Pollution Compensation Funds, a pair of intergovernmental organisations established to provide compensation for oil pollution, said it would not be involved in the cleanup operation after determining that the incident likely resulted from an act of war.

Ambrey, based in Hereford in the United Kingdom, said it expected salvage vessels to reach the Caroline Bezengi soon and that specialist personnel had already boarded the vessel to begin stabilising its cargo.

Ed Wollaston, director of global response at Ambrey, said the “extremely challenging situation” had been complicated by adverse weather from the annual Khareef monsoon.

“However, we have deployed the leading experts in each aspect of the response and have mobilised the appropriate supporting equipment, aircraft and vessels,” Wollaston said in a statement.

“We are working around the clock to mitigate the environmental impact of the situation.”

The oil spill has expanded dramatically in size over the past week, according to analyses of satellite imagery, raising fears for coastlines and ecosystems in the region, including a marine reserve established last year off the Hallaniyat archipelago.

Environmental NGO Greenpeace said on Thursday that, based on satellite imagery, the spill had grown from 45 square kilometres (17sq miles) in late July to about 1,300sq kilometres (502sq miles) as of Wednesday.

Omani authorities as recently as Monday estimated the size of the spill at approximately 400sq kilometres (154sq miles).

Hanen Keskes, Greenpeace’s head of campaigns for the MENA region, said the circumstances of the spill made it “especially challenging” to respond to.

“Given the scale of this – a damaged tanker in a remote location, during monsoon season, with no clear owner or verified insurer to compel a rapid response – this is a case where international assistance should be mobilised urgently,” Keskes told Al Jazeera.

“Capabilities like specialised salvage equipment and expertise can exceed what any one country has on hand, and every day of delay allows more oil to disperse.”

Najmedin Meshkati, an expert in oil spills and a professor of civil and environmental engineering at the University of Southern California, said that authorities should have moved faster to contain the spill.

“That two-month interval was the response window, and it closed. In spill response, source control on day three is worth many multiples of source control on day 60,” Meshkati told Al Jazeera.

Meshkati acknowledged, however, that Omani authorities had been dealt a difficult situation.

“It was handed an orphaned wreck with no responsive owner, no verifiable insurer, no functioning flag state, and a compensation regime containing a war exclusion that may void it entirely,” Meshkati said.

“No mid-sized maritime administration on earth is resourced for that. But that is precisely the argument for escalating harder and earlier.”

Damilola S Olawuyi, a professor of energy and environmental law at Hamad Bin Khalifa University in Qatar, said the spill highlighted the need for stronger international mechanisms to hold polluters accountable.

“The obligation of the entity responsible for pollution to pay for the cost of cleanup and remediation, ie, the polluter pays principle, has for long been a bedrock of international law,” Olawuyi told Al Jazeera.

“However, in an era of increasing geopolitical realignments, identifying the responsible polluter has become complex, therefore complicating effective risk reduction, response and remediation measures,” he said.

A BRITISH girlband have sparked controversy after they admitted they’re “difficult to work with” and have “been rude” but “own it.”

The trio formed in 2019 and they eventually shot to fame in spring 2022 when their debut single, Cardboard Box, went viral on TikTok.

R&B group FLO, made up of Stella Quaresma, Jorja Douglas and Renée Downer, have already found chart-topping success, bagging themselves a MOBO Award and a Grammy nomination.

Since then, rumours have swirled in the music industry that the girls are “difficult” to work with.

They have now made an appearance on a podcast and addressed the backlash head on.

Speaking on the Zach Sang Show, Stella Quaresma said: “A lot of people have stuff to say about us that we’re hard to work with or we’ve got attitude or we’re difficult.

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“And at some point you have to just be like okay, sure, maybe you’re right… like you have to own it.”

“Because if you own it, they can’t say anything more. It’s like I know you are but what am I,” she continued.

“It’s like if I agree then what can you say, it’s owning it.”

When asked how they would define why they are “difficult” to work with the girls replied in unison “opinionated.”

Jorja Douglas said: “I think it’s very much that people aren’t used to it and especially where we were so young… there’s a lot of power dynamics in the industry.

“It’s hard being like 18 and even up until now when we’re 24 or 23 and people who are deep into their 30s and have been doing it, since they were our age.. to take onboard that we disagree or have a different idea.

“It’s difficult for people and I think that’s where it stems because we’re not rude obviously we’ve been rude before, like who hasn’t, it’s a very high stress job and being rude can sometimes be a bit fun.”

She added: “But obviously pick your moments.”

Stella also confessed that she believes people in the industry are “sensitive” with the industry being “based off of emotions.”

FLO’s fans certainly had their backs in the comments as they rushed to the girls’ defence.

One fan said: “Our queens know what they want, and what they deserve. They shouldn’t expect any less.”

Another fan wrote: “People just hate confident women who know what they want.”

A third fan penned: “These women are fabulous. I’ve met them before and they were so open, sweet and genuine.”

Meanwhile, a fourth person felt differently: “Own it all you want but once you get a reputation like that, you will miss out on future opportunities.”

One former resident of Weatherfield could be about to make a shock return to Weatherfield, more than a decade after she departed the ITV soap, and fans have “worked out” how

One former resident of Weatherfield could be about to make a shock return to Coronation Street – almost 15 years on from her departure. Fans are convinced Amber Kalirai is making a comeback.

In the latest scenes on the ITV soap, Alya Nazir (Sair Khan) has decided to sell her share of the Speed Daal restaurant, leaving her colleague Leanne Battersby (Jane Danson) a little surprised to say the least. Leanne’s new boyfriend Idris, who turned up as Alya’s long-lost cousin before hastily announcing he was in fact her long-lost uncle, seems determined to get his hands on it.

But now, fans have claimed that they would like to see Amber Kalirai, the daughter of shopkeeper Dev Alahan (Jimmi Harkishin), make a comeback and snap up the business for herself.

One fan wrote on X:”Totally random Amber Devs daughter should be the new speed daal owner,” and the idea quickly spread across social media.

Taking to Facebook, one fan said: “Wouldn’t it be interesting if the new co owner of speed daal was Devs daughter Amber,” and another said: “Be good to see her back, she is never mentioned.”

A third wrote: “Great little actress. I would love to see her back in Corrie!” and a fourth said: “Loved her-underrated character-stood up to Dev.” A fifth simply demanded: “Bring Amber back!”

Amber was played by actress Nikki Patel, 36, who made her debut on Coronation Street in 2005 and stayed with the programme for four years.

In the summer of 2011, Amber made a comeback and stayed for just under a year, bowing out in March 2012. During her final few months on the cobbles, Amber made friends with Rosie Webster (Helen Flanagan) and Sophie Webster (Brooke Vincent), who fell for her in what was a case of unrequited love.

In the end, though, unable to mend her already-tricky relationship with stepmother Sunita Alahan (Shobna Gulati), she got a job in London and has not been seen since.

When Sunita was killed off after being trapped in the fire at the Rovers Return in 2013, Amber was informed but was unable to attend the funeral as she was travelling with her new boyfriend.

Away from Coronation Street, Nikki has appeared in Waterloo Road, Holy City and Call The Midwife but has also performed in numerous plays, and, earlier this year, announced that she had written a new BBC sitcom titled The Patels, which, if commissioned, will focus on two Gurajti women who must put their difference aside for the sake of their sons.

Speaking to Female Pilot Club, she explained: “There are some heavy issues that they’re talking about but they do it in such an accessible, beautiful way, with a normalised family, which could be difficult. And that’s kind of presented in a dramatic setting.

“I just want to be part of a conversation with that community, potentially help people, [because] there are families going through this right now now where the kids are afraid to be and show who they really are.

“And I think it’s so sad and it’s crazy to me … so I kind of want to be part of a change. Maybe that’s really big wishful thinking. But like I said, comedy is a way to try and do that.”

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X.

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Shaw is a world-class competitor in a sport where the rewards may not make her wealthy.

“Obviously there’s football, Formula One… but I can’t think of many more sports where it is a case of ‘you’ve hit the top level and now you’re financially settled’,” she said.

Shaw is given what is called an ‘Athlete Performance Award’ (APA), a financial grant from UK Sport and the National Lottery that contributes towards her living and training costs.

There are different grades of support, external that athletes receive, depending on their results and prospect of medal-winning performances.

Shaw told BBC Sport that it was “very common” for athletes in sports like judo to have another source of income.

“The money I get [APA] covers my living expenses, which is a blessing and not to be taken for granted,” she said.

“But, for example, the next competition I’ve paid for myself because it wasn’t funded by British Judo.

“Going to Peru [for the Grand Prix] has cost me quite a bit of money and then I’m not really getting that back from anywhere else.

“I’m also a normal person! Like, I want to save for a house.”

Athletes can also earn money through sponsorships, something Shaw says would be a “game-changer” for an athlete at the present stage of her career.

“It just means you can take every single opportunity… put it towards competitions that I don’t get funded.”

Shaw also decided to set up a GoFundMe page at the start of the year, which she sees as a way of helping to fund her dream of going to the 2028 Los Angeles Olympics.

Jessica Williams always goes to bed laughing.

“Everything’s so sad,” the actor explains. “Not taking yourself seriously is the only way, because otherwise I would just be upset, especially as a Black woman in the year 2026. I hate when people are on ‘The Bachelor’ and they’re like, ‘I love laughing,’ but it’s true. I really love it.”

Williams, 37, knows a thing or two about making others laugh. A three-time Emmy nominee for supporting actress in a comedy series for her work on “Shrinking,” she’s made an art of it. On a show about grief and mental health, Williams is often on hand to bring the funny.

Curled up in a chair on the top floor of The Times’ offices in El Segundo, looking down on the runways of LAX boiling in the late July sun, Williams gives runway fierceness against the beige office walls. She is just like the pop of bubblegum pink polish on her toenails as she strikes a pose in a chic all-black linen ensemble — a delightful burst of cheer in a subdued environment, something effervescent amid so much inoffensive sameness. She’s always been that way.

I would know; I’ve known her since we were 12 years old, awkward adolescents in Marcia Barryte’s Dodson Middle School drama class. As we catch up, I remind her of a PG-13 scene she caused in eighth grade science class during an earthquake drill. (To be fair, the drama students were asked to play standardized patients, and she was assigned “hysteria.”) While the class collected our backpacks, she broke into an award-worthy performance, wailing about not wanting to die a virgin.

“No!” she gasps, covering her mouth but unable to hide the mischievous grin that’s broken across her face at the memory. “That’s very inappropriate. I love that.”

Under slightly different circumstances, it’s a storyline that could belong to her “Shrinking” character, Gaby Evans, a therapist who brings her sunny demeanor, audacious sense of humor and enviable stores of energy into every room. That’s partly because so much of who Gaby is has been carefully honed by the writers and Williams to align with the actor’s voice.

“We can write almost anything and Jessica can make it sound like it has stemmed from Gaby,” says series co-creator Bill Lawrence. “She’s in charge of Gaby’s voice — and it’s a tremendous safety net for us as a writing staff.”

Jessica Williams in “Shrinking.”

(Apple TV)

Williams agrees this has been her experience, one she’s grateful for in an industry often dead set on ignoring perspectives like hers. “At the end of the day, white guys are in charge of this business,” she says. “Progress in film and TV requires them to go to bat for us. I feel really lucky to be on a show where Bill pulled me aside and was like, ‘If I’m doing my job right, the first couple episodes, we write these stories, and then, there’s a moment where it switches to being your character and you are the shepherd of her.’ It made it really collaborative and a safe space for me to play.”

Three seasons in, the set has become the world’s best playground. For instance, the writers gave Williams ample runway in a scene where Gaby turns the tables and proposes to her boyfriend, Derek (Damon Wayans Jr.), after discovering an engagement ring in a desk drawer (and getting it stuck on her finger). “Look, if you’re a television writer and you have a proposal scene and you don’t let Jessica Williams run with it, you’re cheating yourself,” quips Lawrence.

That mutual trust doesn’t mean that Gaby and Williams are the same person — just that Williams’ lived experience has shaped who Gaby is. “The point of a scene is we don’t know what it’s going to be,” she says. “We learned our lines. We’re going to show up. The director’s here. They have an idea. We’re going to make this thing together. We’re going to ‘Yes, and?’ until we get the scene up.”

Her ability to take the ball and run with it is what caught Lawrence’s eye in the first place, discovering Williams as a correspondent on “The Daily Show.” “She works very hard at making it seem like it’s off the cuff,” he emphasizes. “She is quick to call the writing staff with questions and is always looking to improve things. That’s not always the truth with everybody. She works her ass off.”

Jessica Williams. (Ryan Pfluger / For The Times)

That work ethic was essential for her Season 3 arc, which found Williams facing some of the toughest acting challenges of her career. Gaby bonds with a new, albeit reluctant, patient, Maya (Sherry Cola), only to be devastated when Maya takes her own life. It’s the heaviest storyline of the season — and a heartbreaking look at the realities of suicide, loss and trauma in the lives of mental health professionals.

One of the show’s consultants had experienced a similar loss, and their insights helped the writing staff find dramatic resonance. For Williams, it was a chance to showcase what she always believed she was capable of. “For women, people of color, queer people, any minorities, we just want the opportunity to show what we can do,” Williams says. “I was rubbing my hands together. Like, ‘F— yeah. Let’s go.’ But I was also really nervous. Sometimes when I get scenes that are a bit more difficult, I wake up and I wonder if I can do it. Every single time it’s proving to myself that I can. It felt like I didn’t get to rest last season in a way that was really nice. Most times I feel like I’m just goofing, but that felt like, ‘Oh, I’m an actor.’”

That’s an inevitable side effect of appearing on a Bill Lawrence show. His blend of humor and pathos demands a high-wire act from his ensembles. “With Bill, you have to have the acting chops to be able to do the drama, but then be able to turn a joke very quickly,” says Christa Miller, who’s been married to Lawrence since 1999 and played major roles on “Scrubs” and “Cougar Town” before “Shrinking,” in which she stars as Liz. “You really have to be able to do it on a dime.”

Lawrence clocked early on that Williams had the chops to hold her own against heavyweights like Harrison Ford. “We knew comedically she would crush it. The only question mark was about who she was as an actress,” says Lawrence. “But she was great from the second she set foot onstage. It would’ve been a massive mistake not to let her showcase that stuff.”

The storyline also pushed Williams to reopen an old wound. In 2019, she lost her longtime boyfriend to a heroin overdose. “He had a therapist who had come recommended from my therapist,” she says. “I don’t remember that time that much because it was so intense and traumatic. I do remember my therapist was helping me work through it, but she was also like, ‘I’d like to check in with his therapist and see how he’s doing.’ That was the first place I went when they told me about that storyline. It was a good opportunity to work through that a little bit.”

Even though her grief was readily accessible, it also churned up emotions that Williams often tries to quiet. “There’s always something when someone dies, whether it’s suicide or an accident, where you feel guilt,” she reflects. “‘What could I have done?’ It was something that I’ve processed and am still processing, and it was easy to transfer that into Season 3. Grief is so ongoing. It’s a wound that I have forever, and I would give anything to not have it. But now I have it, and I live with it. It’s like an old friend.”

Williams describes the days filming those scenes as different for her, harder to shake. Driving home from the set in Burbank, she’d often take side streets back to her house in Eagle Rock, getting lost in music and her environment. “It felt like trying to shed it,” she explains. “I really felt it. But so many people responded to it in a way that was what I wanted. It’s such an intimate thing, this job, and to be able to portray something [that resonates], that’s the whole point.”

One emotion the work generated that she wasn’t expecting? Embarrassment. “I’m usually not embarrassed doing comedy,” she says. “I’m like, ‘There’s no rules. We can try anything.’ It doesn’t feel as vulnerable, whereas acting, there’s something fundamentally so indulgent about it.”

It’s a surprising admission; though I haven’t spent substantial time with Williams in years, she always seemed fearless to me. Willing to do whatever it took to get a laugh. It’s why our drama teacher invented an entirely new role for her in our spring musical, to showcase her generational comedic talent.

Williams agrees she was a cutup in class, but she never got the chance to do any capital-A acting in middle school. “I would get a part, and then I wouldn’t be able to do it,” she recounts. “Mrs. Barryte would have to call my parents and be like, ‘She did not do her homework. She has bad grades. She can’t do the play.’ I let people down. I remember feeling really sad about it.

“That taught me I’m a part of a team,” she reflects. “I have to be professional. I have to be ready. But I’m glad I don’t have to do my math homework to be able to perform. Public school’s tough — you had to be an awkward Black girl and get good grades to do the musical.”

That all changed when Williams found improv, joining the ComedySportz team at Harbor City’s Narbonne High (she continued on the college team while she was a student at Cal State Long Beach). “I cared about improv so much that I wasn’t not going to do my homework,” she says. “It just affected my life profoundly. I’m getting misty thinking about these programs that are underfunded, that s— really matters.”

Williams has also found reassurance in the response to her character. “She makes me more confident,” she admits. “Just seeing the response to Gaby. A lot of that is amazing writing, directing and an amazing crew, but it’s also my instincts.”

“The first time I was like, ‘Whoa, what the f—?’” she says of her three Emmy nominations for the role. “Second time, it was like, ‘OK, it wasn’t a fluke.’ And then the third time you’re like, ‘Oh s—!’ All the actresses that I admire are in this category, so I’m honored. But these are my peers too. So it’s like, ‘Oh, they see me.’ Gaby means something to people, it feels like — and that’s really nice. It encourages me to keep going.”

As for what that future will hold, besides at least one more season of “Shrinking,” Williams is hungry to do a play on Broadway, having not done theater since high school. Somewhere in there she’d like to capitalize on her tendency to play erudite characters and embody a detective in a thriller (preferably a paranormal one like her childhood faves “So Weird” and “The X-Files”).

Mostly, though, she just wants to keep doing what she’s been striving for since we were kids — “I want, when you watch me, for you to feel like you’ve seen something magic happen.”

Well, abracadabra.

The last time I ate at McDonald’s was also the first time I tried a McGriddle.

Why am I thinking about a breakfast sandwich? Well, it’s morning, for starters. And my old friend Laurie Ochoa, who runs all things food at The Times, just had her own first encounter with a McGriddle, inspired by the item’s mention in the most recent season of “The Bear.”

Should McDonald’s have a Michelin star? “The Bear’s” pastry chef Luca thinks so. Laurie is a fan too. Me? Honestly, I ordered it by accident, hangry and delusional after driving too many miles on a road trip home. To this day, whenever my son, Sean, passes that Lost Hills McDonald’s, he snaps a picture and sends it to me, captioning it: “McGriddle?”

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Does Rhea Seehorn dig McGriddles? She loves bread, so maybe the whole pancake-bun thing would put her off.

Cover story: Rhea Seehorn

(Ian Spanier / For The Times)

If you love great television, you know Seehorn from “Better Call Saul” and the new Apple TV series “Pluribus,” where she plays Carol, a sad woman forced to save the world from happiness and the hive mind.

But other than those two classics and a guest turn on the final season of “Veep,” I have not Seehorn in anything else. Which wasn’t for a lack of trying on her part, as I learned from talking with her for a recent Envelope cover story.

Seehorn moved to Los Angeles in 2003 after landing a lead role on the ABC sitcom “I’m With Her.” Seehorn played … well, I’ll let her describe the character.

“I was the naysaying, coattail-riding, bitchy, alcoholic little sister of Teri Polo’s character,” Seehorn says, laughing. “It was so much fun.”

The comedy ran for 23 episodes and was then summarily canceled, despite the season finale drawing about 11 million viewers. (“Can you imagine?” Seehorn says of the ratings. “You’d be a juggernaut now.”)

When she arrived in L.A., ABC put her up at the massive Oakwood apartment complex on Barham Boulevard, an (in)famous landing place for child actors, musicians and newcomers like Seehorn getting their start in Hollywood. On her way to work each day — she walked to the Warner Bros. lot because she didn’t have a car — Seehorn would pass older men wearing short bathrobes at 7 in the morning and “momagers” hustling their kids to an audition.

Says Seehorn: “It’s weird because you’ve landed a great job and you’re working, so, ‘Yay!’ But also, you’re staying in a one-room apartment that has a kitchenette and a Murphy bed that folds into the wall. When the bed’s folded down, it touches the couch and you can’t walk around. But when the bed is up, it’s a mirror, so you watch yourself have no friends, sitting there watching TV, eating a TV dinner. Then you’re like, is it less depressing to just sit in a bed all day, or should I watch myself sitting here?”

Needless to say, Seehorn moved as soon possible, landing in a fourplex apartment across from the Warner Bros. lot near the Taco Bell and Don Cuco on Riverside Drive. It was heaven. It had a second bedroom. And a window!

She lived there until the second season of “Better Call Saul.”

“The good news is, when you move to L.A. from New York, everything seems like a mansion,” Seehorn says, laughing.

Sitting on that Murphy bed at the Oakwood, was there ever a time when Seehorn wondered, “What am I doing?”

“I had come from supposedly being the receptionist at a construction office in Brooklyn, but what I was really doing was cleaning their bathrooms with like nine pairs of rubber gloves on because it was so disgusting,” Seehorn says. “That was my day job, and then I was working at Playwrights Horizons, a wonderful theater that I’d always wanted to work at, so I was thrilled. But theater doesn’t pay enough to live on. So life was always cobbling something together to pursue my passion, my dream.”

Read more of our ‘Pluribus’ coverage

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.

Rhea Seehorn possesses what Vince Gilligan calls “Jumbotron face.” As the creator of “Pluribus” and (with Peter Gould) “Better Call Saul,” Gilligan has relied on Seehorn’s ability to broadcast what her characters are thinking and feeling without saying much of anything. Gilligan loves silences and uses them in long stretches, allowing — or, perhaps more accurately, demanding — his audience to figure out what’s happening on their own.

And in Seehorn he found someone who, with a mere sidelong glance or knitted brow, can let you in on Gilligan’s secrets.

But Seehorn carries this ability wherever she goes, she tells me. People take a look at her and make assumptions. She’s 5 foot 4, lean and seems athletic, though she says she’s “the least athletic person that anybody knows.” That hasn’t stopped her from being cast as a golf instructor in the upcoming second season of the Owen Wilson comedy series “Stick” and a track and field coach in a movie she’s shooting right now called “Running.”

“I do not run,” she told the movie’s director, Gavin O’Connor. “I can tell people to run, but you don’t want to see me running.”

It’s not just work, though, where these deductions are made. Up until a few years ago, when people started recognizing her for playing poker-faced attorney Kim Wexler on “Better Call Saul,” Seehorn would be standing in a store and customers figured she worked there. Shopping at the Gap, she’d be asked if a T-shirt comes in medium. In Target, she’d be queried about where to find the Christmas decorations. Even on set, a background person would approach her, wondering if there’s any more plain bagels at craft service.

Why do you think this happens? I ask her. Because, even with her fame and her Golden Globe win for playing Carol, a sad woman forced to save the world from happiness and the hive mind in “Pluribus,” Seehorn, 54, says this still takes place on a regular basis.

“I’ve asked my friends, and apparently my daydreaming or thinking face looks focused,” she says. “I guess my interior monologue is highly interpretable to people, and if you’re standing in a store and you see somebody really thinking and thinking, they’re like, ‘She must be restocking the shelves.’ When in reality, I’m probably thinking about what I said wrong to somebody at a party in the ’80s.”

Rhea Seehorn as Carol Sturka in “Pluribus.”

(Apple TV)

Seehorn bursts out laughing, which she does often and with great gusto throughout our conversation. We’re at The Times, nine years after her last visit to our offices, which I know because she shows me a photo on her camera roll of her youngest stepson, McLain, taken when we were downtown and he was 9, young enough to still be thrilled about being in a “newspaper building.”

This prompts another take-your-kids-to-work memory.

“I brought him and Gray [the other stepson she shares with her partner of 12 years, real estate agent Graham Larson] to the set of ‘Better Call Saul’ when they were 7 and 9, and the thing they were most excited about was signing an NDA,” Seehorn says. “Everybody in the production office made a huge deal of it, pretending like they were spies, because I knew they’d think that was cool.”

Seehorn played Kim opposite Bob Odenkirk on “Better Call Saul” for six seasons, creating a character that evolved from a minor role to what Gilligan calls the “backbone of the series.” Dazzled by her versatility, Gilligan wrote “Pluribus” for Seehorn. But he didn’t want to tell her about it until he had a script and not just an outline. He asked “Saul” executive producer Melissa Bernstein to act as a spy and tell him if Seehorn was close to taking another job. One day, during the show’s final season, Bernstein told him he’d better pounce.

“I didn’t want to miss my opportunity,” Gilligan says over the phone. “That would have been a bummer. Rhea is the manager that makes the show work.”

(Ian Spanier / For The Times)

Where Kim Wexler was a composed and poised overachiever, suppressing her emotions when things (as they often did) spiraled out of control, “Pluribus’” Carol Sturka lets it all hang out. She’s volatile and angry, drinking heavily to obliterate her regret and rage. The characters share a fierce drive to fight for what they believe is right, which, for Carol, means maintaining her autonomy and resisting the good-vibes group contentment of the Others. A hero has never been more reluctant than this curmudgeon.

Seehorn is the ultimate professional: pleasant, quick to credit her colleagues, a team player. So Carol’s bitter fury feels distinct from her friendly personality as well as anything we’ve ever seen her do onscreen. But it’s not entirely foreign. Talking about the “Pluribus” season finale, she said that while she’s never murdered anyone, she has felt out-of-control rage.

When did this happen?

“I’m not going to tell you that!” she answers, laughing.

I’m just trying to picture it, I tell her.

“I know, because a lot of people are like, ‘I’ve never seen you mad,’” Seehorn says. “I suppress. I suppress too much. That’s something I work on with my therapist. I used to scream and yell as a teenager. That’s how I fought. And I just decided in college one day — I think I had an out-of-body experience — that I don’t want to be this person. And it probably moved the needle too far the other way. Now, when I’m angry, often I withdraw and get very quiet. I say everything is fine and then I’m never speaking to you again.”

That could have made playing a highly reactive character like Carol therapeutic. Instead, it did a number on Seehorn’s body.

(Ian Spanier / For The Times)

“Unlike Carol, I cry often when I’m extremely angry and in the middle of trying to tell someone how upset I am,” Seehorn says. “Like the anger disturbs my body so much that it makes me cry. No matter how much I tried to unplug from Carol, my body didn’t understand that I was pretending.”

We start talking about relationships and unhealthy withdrawal and letting things fester to the point that when the emotions come out, it feels abrupt and the other person has no idea what’s going on. And out of nowhere, Seehorn gives me a taste of Carol, growling the words, “Can you just get it?” with such ferocity that I’m almost physically blown back in my chair.

“God, you scared me with that,” I tell her.

“Thank you,” Seehorn says, beaming.

Because she’s a (generally) well-adjusted human being, Seehorn has developed ways of dealing with the terror and flop sweat that comes with playing the lead on an expensive, highly touted TV series, one that earned 18 Emmy nominations, including one for her lead turn. She converted the garage at her home into what sounds like a veritable wonderland. In one corner, there’s a tiny gym. There’s a place to record voice-over work, not a proper booth, which she’d like someday, but close. There’s a space to be quiet and read scripts. There’s an area where she can paint, sculpt, do jigsaw puzzles, Lego sets, embroider — all the things that ease her anxiety but also help her work through creative blocks.

“If I have too much of a vice grip on a scene and I can’t figure it out, I’ll do a jigsaw puzzle or draw while running the lines,” Seehorn says.

She loves creating things, but she also loves projects that involve following instructions. That soothes her. In the middle of enthusing about a cross-stitch embroidery project, she says, “Don’t roll your eyes at me!” Which I most definitely was not doing. That was my daydreaming, thinking face.

(Ian Spanier / For The Times)

Sometimes these projects make their way inside the house, where Seehorn might turn on the television and watch what she calls “murder TV,” sitting under a big, curved metal dome lamp that feels like an interrogation spotlight. There, her brain still working on what she was doing in her office, she’ll lose herself on multiple fronts as she wrestles with a scene.

Seehorn loves watching shows like “Dateline” because they provide a sense of order in a chaotic world. Bad guy. Bad guy gets caught. Bad guy goes to jail. All is well. But it goes beyond that. As an actor, she loves watching people trying to lie — and failing. She can’t believe how bad people are at not telling the truth.

“Every single time, I’m like, ‘Dude’s lying,’” Seehorn says. “Women too, where I’m watching an interrogation scene and thinking, ‘There’s a zero percent chance you did not know someone was going to break in and shoot your husband.’ It’s funny because as actors, whenever we’re playing criminals that are lying to the police, we’re really good at it.”

Does that mean Seehorn is an adept liar? Yes and no. You’ve seen her act. She can make you believe anything. But when she does lie, she is compelled to confess, even when the fib is innocuous.

“I’ll be in a conversation where there’s a bunch of cool people talking about a movie they saw, and I’ll be like, ‘Oh yeah, that was great!’” Seehorn says. “And then I’ll leave and then I’ll come back and say, ‘I didn’t actually see it. I’m sorry.’ And they’re like, ‘Who’s that weird girl?’ I’m good at lying, but bad at holding the guilt.”

So when you’re telling me you don’t know any details about the second season of “Pluribus,” are you misleading me? I ask.

“I know nothing!” Seehorn says. The atomic bomb in the crate that a helicopter carefully deposits in Carol’s driveway in the last scene? “As soon as they said, ‘Cut,’ I went up to Vince and asked, ‘Now can you tell me what we’re doing?’ And he said, ‘I have no idea.’”

“And all these months later, I know no more than that,” she continues.

But if you did…

“You’d be getting a phone call from me about an hour after we say goodbye, confessing all,” Seehorn answers, smiling.

The phone still hasn’t rung.

(Ian Spanier / For The Times)

California Atty. Gen. Rob Bonta said Tuesday that his office has protected more than $200 billion in federal funding for the state, defended core civil rights and removed military forces from Los Angeles streets by suing the Trump administration about once a week.

“Since President Trump returned to office, California has been under attack — and has led the way in fighting back,” Bonta said.

Bonta said his office has filed 82 lawsuits against the administration since Trump’s inauguration last year, in addition to 122 amicus briefs supporting lawsuits against the administration by other parties and 112 comment letters in response to federal actions.

That work has saved the state an estimated $207.1 billion, Bonta said, including $168 billion — equal to a third of the state’s annual budget — that was threatened when the Trump administration tried to freeze trillions of dollars in federal funding to the states last year. Billions in threatened cuts to transportation, emergency preparedness, education and family assistance funding were also prevented, Bonta said.

The work has also protected birthright citizenship for the U.S.- born children of immigrants, ensured that National Guard troops are not deployed in major California cities against the wishes of local leaders, lifted multiple sets of tariffs driving up costs for American consumers and repeatedly blocked administration efforts to interfere in California’s elections, Bonta said.

“We’ve protected funding that keeps our communities safe, feeds hungry families, and ensures our kids get the education they deserve. We’ve gone all the way to the Supreme Court to defend constitutional rights — and won. We’ve protected our elections and stopped the militarization of our cities. We’ve defended our right to prioritize public safety over assisting with the President’s inhumane immigration agenda,” Bonta said.

As it has done in the past, the White House on Tuesday derided Bonta’s lawsuits as misguided.

“Instead of bragging about filing frivolous lawsuits against the Trump Administration, the California AG should focus on addressing problems in his own state — like the countless criminal illegal aliens the Newscum Administration allows to roam free and terrorize communities,” said White House spokeswoman Abigail Jackson in a statement to The Times.

The White House has previously said Trump is “trying to restore American Greatness” and that Californians would be “infinitely better off” if Bonta got out of the president’s way.

Bonta’s office is required to report annually to the state Legislature on its work fighting the Trump administration as part of a 2025 special session measure delivering it an extra $25 million to fund such litigation. His office published its latest report to lawmakers Tuesday.

The report said the office had received $19.2 million of the special session funding through July 30, which had “contributed to — but in no way has been sufficient to cover — the costs of the litigation.”

Bonta’s office has also received regular appropriations to fund such litigation in each of the state’s last two budgets, of $14.2 million last fiscal year and $23.9 million this fiscal year. The office’s overall budget is about $1.4 billion.

At a morning news conference with other state leaders, Bonta said his office has spent close to $30 million on its “federal accountability work” overall since Trump took office, and argued that investment has been “paying off in droves” given the billions saved.

Senate President Pro Tempore Monique Limón (D-Goleta) and Assembly Speaker Robert Rivas (D-Hollister), standing with Bonta, agreed.

Limón said she was proud to have worked with Bonta and Gov. Gavin Newsom to form a “collective backstop” against the Trump administration, while Rivas said the funding provided to Bonta’s office “may be one of the smartest investments that this legislature has ever made.”

Of the 82 lawsuits, 66 remain active, according to the report. Despite that, Bonta said his office has won 45 orders providing some early relief from the Trump administration’s actions, and 21 final orders in its favor. In eight cases, he said, the administration “backed down” in advance of a trial.

Bonta’s office has lost arguments made against the Trump administration, including on behalf of other litigants, particularly on issues related to transgender rights and the scope of Trump’s executive power to reshape government and federal immigration policy.

However, Bonta claimed his office has won in 83% of the court orders issued in cases brought by the state and praised his team for having “worked around the clock on behalf of Californians, pulling countless all-nighters along the way” to make it possible.

Bonta, who is up for reelection in November, is campaigning in part on his willingness to stand up to Trump — which polling and voting has suggested many Californians want their elected officials to do.

Xavier Becerra, the Democratic candidate for California governor, is running on a similar message. Before he was the U.S. Health and Human Services secretary, Becerra had Bonta’s job and sued the first Trump administration more than 120 times, often successfully.

Bonta said he expects Becerra will be an “incredible partner” in the fight moving forward.

Republicans Michael Gates, who is running against Bonta, and Steve Hilton, who is running against Becerra and is endorsed by Trump, have said they would work collaboratively with the Trump administration to ensure the needs of Californians are met, rather than fighting it at every turn.

“I would be wanting to work with the administration to help Californians,” Hilton has said. Gates has called Bonta’s campaign against Trump “out of touch.”

Many of the lawsuits Bonta’s office has brought against the administration have been filed as part of a multistate coalition of Democratic attorneys general. As presidents of both parties have flexed more executive power in recent decades, state attorneys general have become more collaborative and litigious in fighting back — and that has been especially true under Trump.

Bonta said Trump will be remembered in part for his “repeated attacks on California, on Californians, on our Constitution, and on our democracy,” but California will be remembered for fighting back.

“Are these trying times? 100%. Absolutely, yes,” Bonta said. “But we shouldn’t be helpless, because we’re not helpless.”

A new AN/SPY-6(V)4 radar is now installed at the U.S. Navy’s land-based test site at Wallops Island in Virginia. This is a key step toward the first integration of the SPY-6(V)4 onto an actual warship, the Arleigh Burke class destroyer USS Pinckney.

The AN/SPY-6(V)4 is a central element of the Navy’s Destroyer Modernization 2.0 effort (also sometimes written DDG MOD 2.0) for Flight IIA subvariants of the Arleigh Burke. In addition to the radar, the full upgrade package includes a new AN/SLQ-32(V)7 Surface Electronic Warfare Improvement Program (SEWIP) Block III suite, Aegis Combat System improvements, and additional thermal management ‘chillers’ to help keep all of these systems cool. USS Pinckney was also the first to get the SEWIP Block III installation under this plan, which dramatically changed the outward appearance of the ship.

“The Wallops site, a land‑based test facility situated over an open-water environment, will support extensive testing of the radar and its power and combat system interfaces ahead of installation on USS Pinckney (DDG 91), the first ship to be backfit with SPY‑6(V)4,” according to a press release from prime contractor Raytheon today. “Initial testing will begin later this year and continue through mid‑2028.”

Land-based testing is a routine step in the development of naval radars. Work to integrate the radar onto the USS Pinckney is also set to start this year and wrap up in 2028, according to Raytheon.

“By leveraging the Wallops test site, we’ll be able to integrate SPY‑6(V)4 with its dedicated power system before it reaches the ship, reducing the amount of testing needed on DDG 91,” Barbara Borgonovi, president of Naval Power at Raytheon, said in a statement. “That means less time in the shipyard, more time dedicated to the mission, and a smoother path for future backfit ships.”

The AN/SPY-6(V)4 is also known as the Air and Missile Defense Radar Backfit (AMDR Backfit) radar. It is a scaled-down version of the AN/SPY-6(V)1 AMDR radar that is being integrated onto new Flight III Arleigh Burke class destroyers. The AMDR has four fixed-face arrays, each made up of 37 Radar Modular Assemblies (RMAs). The AMDR Backfit also has a quartet of fixed arrays, but with 24 RMAs apiece.

Raytheon – AN SPY 6V Radar Build Timelapse Video

Each RMA is a two-foot-by-two-foot-by-two-foot cube that contains an independent active electronically scanned antenna. The modules are a key building block of all four radars that currently make up the AN/SPY-6 family. The AN/SPY-6(V)2 and AN/SPY-6(V)3 versions – also known as the Enterprise Air Surveillance Radar (EASR) Rotator and EASR Fixed Face, respectively – have arrays with significantly fewer RMAs than either the AMDR or AMDR Backfit types. AN/SPY-6-series radars are set to become a fixture across the Navy’s surface fleets, with versions also being added to new Ford class aircraft carriers and set to be backfitted onto some Nimitz class types. Various amphibious warfare warships are also getting radars from this family. You can read more about all of this here.

The RMAs that make up any AN/SPY-6-series radar can be utilized individually or linked together with others to focus their energies on a specific task. This offers immense operational flexibility, as well as the ability to produce higher-fidelity tracks over extended ranges. The loss of a single RMA also does not render the entire radar inoperable, and the modules can be replaced individually for repairs and upgrades. This, in turn, translates to increased reliability and upgradability, and less downtime for the radar, in general.

Missile Defense Radars at Sea

With 96 RMAs versus 148, the AMDR Backfit radar is not as capable as its larger AMDR cousin. However, it is still a major capability upgrade for Flight IIA Arleigh Burkes, which are currently equipped with the AN/SPY-1D. The SPY-1D is an aging passive electronically scanned array radar, the development of which traces back to the 1980s. The original AN/SPY-1 entered Navy service in the 1970s.

When paired with the new Baseline 10 configuration of the Aegis Combat System, “the AN/SPY-6(V)4 will provide volume search, tracking, BMD [ballistic missile defense] discrimination, and missile communications in a wide diversity of environments and conditions,” according to a past Navy contracting notice. As noted, this Aegis upgrade is another central aspect of the Destroyer Modernization 2.0 plan.

The Destroyer Modernization 2.0 effort has so far been proceeding in phases, with the SEWIP Block III, Aegis Baseline 10, and chiller upgrades being integrated first, and the AN/SPY-6(V)4 radar coming afterward. In June, the Navy had announced the completion of the SEWIP Block III upgrades on another pair of Flight IIA Arleigh Burkes, the USS Chung-Hoon (DDG-93) and USS James E. Williams (DDG-95).

As mentioned, the SEWIP III installation requires substantial changes to the ship’s physical structure, inside and out. Arleigh Burke destroyers with the new electronic warfare suite have all-new geometric structures extending off the port and starboard bridge wings that contain key elements of the new electronic warfare suite. When work on Pinckney was completed, some observers dubbed it the ‘muffin top’ destroyer and the ‘USS Thickney.’

At least as of last year, two more Flight IIAs, USS Halsey (DDG-97) and USS Sterett (DDG-104), were in line to receive the AN/SLQ-32(V)7 and the rest of the Destroyer Modernization 2.0 package. The Navy also previously said that Sterett would be the first ship to get all of the new capabilities in one single in-port availability.

“This destroyer modernization effort is the cornerstone of increasing service life and delivering decisive combat power to the US Navy via our Flight IIA destroyers,” Capt. Tim Moore, the Destroyer Modernization 2.0 (DDG MOD 2.0) program manager, said in a statement in June. “We focused on opportunities to shift milestones supporting acquisition, planning and execution left to provide these game-changing capabilities to the operators sooner. The DDG MOD 2.0 program remains a top priority as the Navy continues to build and sustain a lethal, resilient, and rapidly adaptable force.”

Destroyer Modernization 2.0 upgrade work to date has not been without challenges. The Navy previously talked about the importance of valuable lessons learned from the hurdles it had to overcome when upgrading USS Pinckney. The service has also said previously that it has several guardrails in place that were informed by experience with the deeply troubled Ticonderoga class cruiser modernization program.

How many Flight IIA Arleigh Burke class destroyers, in total, will eventually receive the full Destroyer Modernization 2.0 upgrade package is unclear. The Navy has said in the past that 20 destroyers could be brought up to this new standard. In 2025, the service said that the USS Kidd (DDG-100) would be among several ships to receive the SEWIP Block III suite, but not the AN/SPY-6(V)4 radar, according to USNI News. The Navy’s Arleigh Burke class destroyer force, as a whole, is in the process of receiving other upgrades, including new defensive capabilities, too.

The Navy currently has 75 Arleigh Burke class destroyers in service, altogether, of which 34 are Flight IIA versions. There are another 12 Flight IIA Restart and Flight IIA Technology Insertion subtypes, which feature additional improvements. Production of new ships in this class is now transitioning fully to the Flight III subvariant.

Regardless, the arrival of the first AN/SPY-6(V)4 at Wallops Island is a significant milestone that puts the Navy on track to move ahead with the second phase of its Destroyer Modernization 2.0 plans.

Contact the author: joe@twz.com