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

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

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

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

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

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

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

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

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

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

The week ahead: A curated calendar

FRIDAY

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

(Evan Walsh)

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

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

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

SATURDAY

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

(Andres Leon for Long Beach Opera)

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

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

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

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

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

SUNDAY

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

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

TUESDAY

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

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

(Getty Museum)

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

WEDNESDAY

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

(Mike Ditz)

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

THURSDAY

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

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

— Kevin Crust

Retrospective

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

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

(Irfan Khan / Los Angeles Times)

At the Heart of a Modern Tragedy

Sunday Calendar, July 29, 2001

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

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

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

— Barbara Isenberg

Culture news and the SoCal scene

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

(Jason Armond / Los Angeles Times)

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

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

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

(Elijah Waller)

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

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

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

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

(Daniel Rampulla)

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

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

(Manny Carabel / Getty Images for Audacy)

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

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

— Jessica Gelt

And last but not least

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

Taiz, Yemen – Fuad Mohammed has been working as a construction labourer for more than 25 years. The 46-year-old has seen things get progressively worse in Yemen’s construction industry since the war in the country started more than a decade ago, and then further deteriorate after the US-Israel war on Iran began in late February, with its devastating economic impact on the wider region.

“We can barely eke out a living for our families,” Fuad told Al Jazeera.

The ongoing regional war has damaged economies across the Middle East, with government-controlled areas of Yemen bearing a heavy burden as commodity prices soar. Among the hardest-hit sectors is fuel: in January, 20 litres (5.3 gallons) of diesel cost 25,000 Yemeni riyals ($17), but today that price has skyrocketed to 45,000 riyals ($30). That massive spike has triggered a domino effect, driving up the costs of all goods and services dependent on fuel and transportation – including construction.

As a result, countless construction projects across those areas – in Yemen’s east and southwest – have ground to a halt.

Pausing construction

Fuad explained that, before the US-Israel-Iran war, he was able to find work for around two weeks every month. But this year, he has now gone several months with barely any work.

“The price hikes in building materials have frustrated both homeowners and construction labourers,” Fuad said. “Those who want to build find that their budgets are no longer enough, and we are left with no work.”

Fuad recalled that he briefly found work in May for a woman who had saved money to build a home for her family. However, when a fresh wave of price increases hit the market, she paused construction to wait for prices to drop.

“I also work with construction contractors, but most of them have paused their projects at the request of homeowners,” he added. “When I call them, they tell me they are waiting for regional conditions to improve.”

As an example of the rising costs, the price of a truckload of sand increased from 130,000 Yemeni riyals ($87) to 190,000 riyals ($127), while the average cost of one metre of window glass rose from 90,000 riyals ($60) to 130,000 riyals ($87).

Fuad’s situation at home is desperate. Relying entirely on daily wages but having no work, he can not provide basic essentials for his family. He has considered finding another job, but he lacks professional experience in other fields.

In a desperate attempt to find work, he has lowered his daily wage from 25,000 Yemeni riyals ($17) to 20,000 riyals ($13).

“My situation is getting worse every day,” he said.

Economic division

An official from the Yemen Petroleum Company in Aden told the Reuters news agency in May that the increase in the price of diesel was caused by the worsening supply crisis and rising global fuel prices, driven by regional tensions and the closure of the Strait of Hormuz, alongside increased transportation and marine insurance costs. The official noted that the measure was temporary and would remain in place until the end of the crisis and conditions returned to normal.

Wafeeq Saleh, executive director of the Taiz Center for Yemeni-Gulf Studies, explained that the Yemeni economy was particularly susceptible to external economic shocks.

“Any disruptions in global commodity markets directly affect the local market because [Yemen] imports nearly 90 percent of its needs,” Saleh told Al Jazeera. “Consequently, the local rise in commodity and fuel prices is a natural outcome of surging global prices, shipping tensions in the Strait of Hormuz, as well as increased maritime insurance and freight fees.”

In areas controlled by Yemen’s Houthi rebels, however, including the capital Sanaa, there has not yet been a sharp increase in fuel prices, and therefore no impact on the construction industry – yet.

Yemen’s war has entrenched two separate economic structures in the country, with the central bank bifurcated between Aden and Sanaa, and two different exchange rates operating for the Yemeni riyal.

The Houthi group is already facing popular anger over a weak economy, as it grows increasingly isolated regionally and internationally. The group has so far avoided an increase in the price of fuel, with 20 litres (5.3 gallons) of diesel costing 9,500 Yemeni riyals, which at the exchange rate set in Sanaa is the equivalent of roughly $18.

“[The Houthis] may have sufficient inventory from previous months, which is why the local market hasn’t been affected,” Saleh said. “However, the impact will appear in the coming period when imports are made at the new price.”

The actions of the pro-Iranian Houthis themselves have contributed to the increase in global oil prices. Having sat out the Iran war for its first few months, the Houthis recently began attacks against Saudi ships passing through the Red Sea, after the Yemeni government and the Saudi-led coalition that backs it refused to allow a plane from Iran to land in Sanaa. The Houthi attacks mean that the transportation of oil from the Gulf is now disrupted in both the Strait of Hormuz and the Red Sea, and has contributed to oil prices going past $100 a barrel for the first time since May.

Will prices come down?

Lutf Zuraiqi, 58, had saved some money to build a home, but the dramatic increase in the cost of building materials forced him to pause the project until “things get better”.

“Price increases aren’t new in Yemen, but I believe this current surge is regional. I believe as soon as the regional war ends, building materials will return to their old prices,” Zuraiqi told Al Jazeera.

Zuraiqi has been following news of the Iran war on a daily basis because its end would mean lower material costs for him and the chance to resume building his planned home.

“The government promised that prices will go back down after the [US-Iran] war ends,” he said. “So this time I’m choosing to believe them and hope I will manage to finish my home.”

Mohammed Jameel, on the other hand, hasn’t been following the news – but the building contractor has been tracking prices of building materials instead. The 59-year-old believes that, based on his experience, once the price of the materials goes up, they never come down.

“I have worked in construction for more than four decades now, and throughout this entire period, building material prices have consistently risen,” Jameel said. “We have never witnessed a price drop. So, I advise those who have paused their construction to resume, as today is always better than tomorrow.”

Jameel said that he has been forced to reduce his rates and cut profit margins on major contracts to keep some work.

“My experience tells me it is normal for owners of homes and projects to pause work until they adapt to the new prices,” he added. “But eventually, construction labourers’ wages will rise, and the total cost of building will increase.”

Jameel feels for the plight of construction labourers, but he views this as a temporary phase and believes the suffering will ease once work picks up again. “We are all in the same boat, not just the daily wage labourers,” he said. “But we hope things will get better.”

Israel will head to national elections on October 27, marking the country’s first vote since the October 7, 2023 Hamas attack that triggered the Gaza war and later expanded into conflicts with Lebanon and Iran. The election is widely seen as a defining moment for Prime Minister Benjamin Netanyahu, whose political future faces its toughest test in years.

Although opinion polls suggest Netanyahu is heading toward defeat, Israel’s fragmented parliamentary system means election outcomes often depend on coalition negotiations rather than outright victories, leaving several possible paths to power.

Polls Signal Trouble for Netanyahu

Recent surveys indicate declining public confidence in Netanyahu, whose long standing reputation as Israel’s security leader suffered after the October 7 attack.

While many Israelis have supported military operations against Hamas, Hezbollah, and Iran, dissatisfaction has grown over the government’s handling of domestic issues, including the relationship between religion and the state.

Despite the unfavorable polling, Netanyahu remains one of Israel’s most experienced political figures and has repeatedly returned to power after seemingly insurmountable political setbacks.

Who Are Netanyahu’s Main Challengers?

Several political figures are seeking to capitalize on Netanyahu’s weakened position.

Former military chief Gadi Eisenkot has emerged as one of the strongest contenders. Having lost his son during the Gaza conflict, Eisenkot has built a reputation as a respected security figure while portraying himself as an honest alternative to the current leadership.

Former prime ministers Naftali Bennett and Yair Lapid have reunited politically after previously forming the coalition that briefly removed Netanyahu from office in 2021. Their earlier government brought together parties from across Israel’s political spectrum, although it lasted only 18 months.

Another challenger is former Defense Minister Avigdor Lieberman, once a close Netanyahu ally. Lieberman later became one of his fiercest critics, accusing him of failing to adopt a sufficiently tough security policy.

How Israel’s Election System Works

Israel elects its 120 member Knesset through a nationwide system of proportional representation.

Rather than voting directly for a prime minister, citizens vote for political parties. Seats are distributed according to each party’s share of the national vote, provided they receive at least 3.25 percent, the equivalent of four parliamentary seats.

Because no party has ever secured an outright majority, governments are always formed through coalition negotiations among multiple parties.

This coalition system gives smaller parties significant influence over government formation and policymaking, often making them decisive kingmakers after elections.

Why Coalition Politics Matter

Coalition governments have become a defining feature of Israeli politics.

Since 2019, repeated political deadlock produced multiple elections before Netanyahu returned to power in 2022 with the country’s most right wing coalition to date.

His governing alliance has relied heavily on ultra Orthodox Jewish parties, whose demands, particularly regarding exemptions from compulsory military service, have generated growing public controversy during wartime.

Following disagreements, some coalition partners have already left the government, although they have continued providing parliamentary support on key votes.

The Main Parties in the Election

Netanyahu’s coalition includes:

• Likud
• Religious Zionism
• Jewish Power

The opposition currently consists of:

• Yashar, led by Gadi Eisenkot
• Together, the alliance between Naftali Bennett and Yair Lapid
• Israel Our Home, led by Avigdor Lieberman
• Arab parties including Hadash, Taal, Raam, and Balad
• The left wing Democrats, headed by former general Yair Golan

The political landscape could still change before candidate registration closes, as parties may merge, split, or withdraw from the race.

Why This Election Matters

The October election will shape Israel’s political direction at a time when the country remains engaged in multiple regional conflicts and faces mounting domestic challenges. While polls currently favor opposition forces, Israel’s coalition based electoral system means the final outcome will depend less on which party wins the most votes and more on which leader can assemble a governing majority in parliament.

Analysis

The 2026 Israeli election is not simply a referendum on Benjamin Netanyahu but a broader test of whether Israeli voters want continuity or political renewal after years of conflict and instability. Netanyahu enters the race weakened by security failures linked to the October 7 attacks and growing public frustration over domestic governance, yet his long record of coalition building means he cannot be discounted. Even if his Likud party falls short, post election negotiations could still determine his political survival.

For the opposition, electoral success alone may not be enough. Parties ranging from centrists to left wing and Arab factions must overcome ideological divisions to build a stable coalition, a challenge that has repeatedly undermined previous governments. The election therefore highlights a recurring feature of Israeli politics: governments are decided not only at the ballot box but also through complex coalition bargaining that can reshape leadership long after votes are counted.

With information from Reuters.

The dust has barely settled on the expanded 48-team FIFA World Cup 2026, yet further development of the competition’s future has already been mooted, as well as struck by a fierce backlash.

The shine on the trophy, now held by Spain after their defeat of Argentina in the final, still glitters brightly, but there were tarnishes to this year’s event.

Now, the game’s global governing body, FIFA, and its president, Gianni Infantino, face yet more criticism after a plan was released to sell stakes in future World Cups and other events to private investors.

From European football’s governing body, UEFA, to the United Kingdom’s new prime minister, Andy Burnham, FIFA’s plan has been slammed. There has even been a suggestion of a boycott by UEFA.

Al Jazeera Sport takes a look at what the latest proposals on FIFA’s desk mean.

What are Gianni Infantino and FIFA’s new World Cup plans?

FIFA announced plans on Tuesday to sell stakes in future World Cups and other events to private investors in a bid to maximise revenue for the sport.

The proposal is to create a $20bn subsidiary to run the World Cup and other events.

FIFA says it would retain the majority share of a newly created FIFA Forward Enterprise (FFE) scheme, meaning it would still preside over football governance, competitions, match calendars and regulatory and sporting decisions.

Minority stakes, however, would be sold to external investors to raise up to $4.2bn as part of the new proposal.

Why do Infantino and FIFA want to sell stakes in the World Cup?

Debate raged for months in the build-up to World Cup 2026 that FIFA’s ticket pricing was pushing fans out of “the people’s game”, as it has long been regarded.

FIFA’s defence was that the World Cup is their main source of income to support the game around the globe – from the sport’s grassroots to the administration of the major international events.

This latest proposal is FIFA’s attempt to stretch that revenue potential even further.

How would the new plan for the FIFA World Cup work?

Billions of dollars are already raised by FIFA tournaments, largely from broadcasting rights, sponsorship and other commercial deals.

This new commercial subsidiary, the FFE, would extend beyond traditional means of raising funds and would be akin to the franchise model that many sports have now turned to.

The Indian Premier League (IPL), a T20 cricket tournament, was one of the first competitions to fully exploit the potential of franchise models, selling stakes in teams in a newly formed competition.

On Wednesday, the IPL – only formed in 2008 – announced its value had soared more than 11% this year to 20.6bn.

Teams in that competition are owned by majority investors, who therefore hold significant sway in how it is run.

Other models, including The Hundred of the England and Wales Cricket Board (ECB) – an attempt to rival the IPL – have sold minority ownership of the teams.

ECB, as a result, retains control of the competition, and this is what FIFA is proposing for the share of the World Cup and its events that it intends to sell privately.

Nonetheless, a share is a share and new investors, be it in cricket’s The Hundred or in the FIFA World Cup, will expect at the very least to be heard when it comes to decision-making.

This is where concerns are being raised about the proposals.

Who are the potential investors in the World Cup and other FIFA events?

Thrive Eternal, a United States venture capital firm, has been put forward to lead the proposed investor group, FIFA said.

The vehicle was founded by Joshua Kushner, the brother of US President Donald Trump’s son-in-law, Jared Kushner.

Any potential investors would thereafter buy into the FIFA events via Thrive Eternal.

What benefits are FIFA claiming if the World Cup and events plan succeeds?

FIFA has said all net benefits will be reinvested in football, and that all countries should benefit from the ever-increasing profitability of the sport.

“Football is the world’s most popular sport,” FIFA President Gianni Infantino said in a statement.

“Parts of the game have turned that popularity into remarkable commercial value – and we celebrate that success and want it to continue, because it lifts the whole game.

“Our job is to make sure the rest of football grows with it: FIFA exists to support sustainable, inclusive development in every corner of the world.”

‘It is not FIFA’s to sell’: UEFA and UK PM reaction to Infantino’s World Cup plan?

FIFA has already clashed with domestic and continental governing bodies during World Cup 2026. The European powerhouse, UEFA, was the first to speak out against the new proposals.

“This crosses a line that football’s governing institutions should never cross,” UEFA said.

“UEFA takes it extremely seriously. So should every National Football Association. So should every stakeholder who cares about the future of the game.

“The soul and governance of football are not assets to trade – especially with zero transparency as to who gains financially. None of us are the owners of football. It is not FIFA’s to sell.”

Andy Burnham, who only replaced Keir Starmer as the United Kingdom’s prime minister last week, wrote on X: “Let me say this very directly. Football does not belong to investors. It belongs to the people who fill the stands and who stand on the touchline week in, week out, rain or shine.

“The World Cup is not a product. It is the greatest competition in world sport, and it was never anyone’s to sell. Dress the deal up however you like. Once you have sold a piece of it, you have sold out.

“Football belongs to the fans. It always has, and it always will,” he added.

The Confederation of North, Central America and Caribbean Association Football (CONCACAF) said on Wednesday that it ⁠had not been informed of FIFA’s proposed sale of equity to outside investors and was “deeply concerned” over a lack of due process.

What will happen next for FIFA’s World Cup plans, and will UEFA boycott?

Any change will need to be voted through by FIFA’s 211-country membership.

Of that number, 55 nations fall within UEFA’s governance.

The European body will hold an emergency meeting later this week to discuss the proposals.

Were FIFA to implement such a plan, one possible response UEFA could take would include a boycott of FIFA competitions.

Although at just above a quarter of FIFA membership, Europe has produced the winner of six of the last eight World Cups.

Argentina and Brazil are the only teams to prevent a clean sweep by the Europeans in that time, and, indeed, are the only nations outside Europe to win the World Cup since fellow South Americans Uruguay won their second and last title in 1950.

What were the main criticisms of FIFA World Cup 2026?

The main criticism going into the 2026 World Cup, held in the US, Canada and Mexico, was pricing. From tickets to transport links, it was felt that football fans on median salaries around the world were being priced out of the game.

During the World Cup, the decision to suspend a red card shown to USA striker Folarin Balogun “undermined the game’s integrity and credibility,” according to UEFA.

US President Donald Trump said he called Infantino about the ban that Balogun faced – the forward lined up for USA in their next match against Belgium.

FIFA also faced a backlash over hydration breaks that were introduced midway through each half of those matches. Critics said the breaks functioned primarily as commercial opportunities for broadcasters and disrupted the traditional flow of football matches at the tournament.

Betye Saar, a Los Angeles artist who transformed collections of bigoted bric-à-brac — Sambo dolls, ceramic mammies and crude renderings of pickaninnies — into potent works of assemblage that mined the searing history of race in the United States, and whose works influenced generations of artists, has died. She was 99.

Saar died in her sleep — just a few days short of her 100th birthday — in Los Angeles, her longtime gallerist Julie Roberts at Robert Projects said. Saar’s death was confirmed by her publicist Hannah Gottlieb-Graham.

“Betye Saar was one of the greatest artists of our time, and it has been an immense honor to work with her for nearly 20 years,” Roberts said. “Her singular vision transformed the course of contemporary art, and her legacy will continue to inspire generations of artists, scholars, and audiences around the world.”

A diminutive woman with a low-key manner that belied a steely resolve, Saar was known for combing garage sales, flea markets and junk piles for objects that she employed in collages and assemblages large and small. These explored difficult aspects of American history — including slavery and Jim Crow — but also touched on more personal themes of family, memory, magic and spirituality.

“My work has to do with recycling,” she told a documentary crew in the 1970s. “Each item I collect has a certain energy from its previous function that carries over into its new use.”

Artist Betye Saar in her Laurel Canyon home in 2016.

(Gina Ferazzi / Los Angeles Times)

In a 1984 profile, Times art writer Suzanne Muchnic described Saar as an artist who used found objects in a way that “draws on the power of mystery, the hurt of discrimination and the authenticity of individual vision.”

As Saar’s 100th birthday approached, her work and its groundbreaking importance were celebrated afresh in a slew of articles, including two recent profiles in The Times. As she approached the momentous milestone, Saar appeared more interested in creating new art than in dissecting her legacy. “That’s what art is,” she told The Times in an interview in late June. “Making something where there was nothing.”

Saar first rose to prominence in the 1970s, after crafting a small assemblage — roughly the size of a shoebox — that featured at its center a stereotypical Black mammy figurine bearing a rifle in one hand and a grenade in the other. The piece was first shown at the Rainbow Sign, a community center in Berkeley that was located near the headquarters of the Black Panthers.

The artist had begun her professional life as a designer of greeting cards and home accessories. But 1972’s “The Liberation of Aunt Jemima,” as the assemblage was called, catapulted her into the center of the Black Arts Movement and connected her with a broader tradition of assemblage in California and the art world at large. Three years after its creation, she had a solo exhibition at the Whitney Museum of American Art in New York. Decades later, activist Angela Davis credited “The Liberation of Aunt Jemima” with spurring the Black women’s movement.

“It’s like they abolished slavery, but they kept Black people in the kitchen as mammy jars,” Saar said in a 2015 interview. “I had this Aunt Jemima, and I wanted to put a rifle and a grenade under her skirts. I wanted to empower her. I wanted to make her a warrior. I wanted people to know that Black people wouldn’t be enslaved by that.”

In June 2020, in the wake of the uprisings following the murder of George Floyd, Quaker Oats announced that it would retire the Aunt Jemima brand. Saar took to Instagram with an image of her famous work and a message: “She’s liberated! Finally at long last! And it’s about time!”

“Liberation” now resides in the collection of the Berkeley Art Museum and Pacific Film Archive, not far from where it was first shown.

Betye Saar was born Betye Irene Brown in L.A. on July 30, 1926, the eldest of Jefferson Maze Brown and Beatrice Lillian Parson‘s three children. Her father, with whom she was close, died when Saar was about 5. And shortly thereafter, Parson relocated the family to Pasadena to live with her maternal aunt, Hattie Parson Keys. (Years later, Saar created a series of works in honor of Keys, employing objects that her aunt had left behind — something she would do for other family members as well.)

Saar’s parents weren’t artists, but art was in the air. When she was a child, her mother encouraged her to sew and make crafts. And, in the summers, she spent time at the home of her paternal grandparents in Watts, where she saw Simon Rodia building the Watts Towers and was struck by his use of materials.

“The one I find the most amusing is the corn cob,” she told the podcast “The Modern Art Notes” in 2016. “He had a piece of space with wet cement so he just put the corn cob in there. And I just love the kind of freedom to make the piece. Anything can go in there.”

After graduating from high school, Saar spent two years at Pasadena City College before transferring to UCLA in 1947. She majored in design, figuring that she would become an interior decorator — and, for a time, she did indeed work in that field, teaming up with Curtis Tann to form a cleverly named studio called Brown and Tann. Operating out of Tann’s home, the company produced an array of decorative and functional objects, including bowls, ashtrays and jewelry.

To market their goods, they turned to an informal network of African American artists, staging pop-up exhibitions in people’s homes and in other impromptu locations. In 1951, the pair was featured in Ebony magazine.

It was through that circle that she met a ceramicist of German American descent by the name of Richard Saar. In 1952, they married. The following year, their daughter Lezley was born. Two other daughters followed: Alison in 1956 and Tracye in 1961. (Lezley and Alison are now respected artists in their own right. And, in fact, on more than one occasion, all three women have shown their work together, most recently at the Museum of Art & History in Lancaster in 2018.) In 2024, the Equal Justice Initiative Legacy Gallery installed Saar’s “Seeking Secrets of Destiny” alongside her daughter Alison’s sculpture “The Beckoning.”

Betye Saar, flanked by her daughters, stands before a painted brick wall.

(Carolina A. Miranda / Los Angeles Times)

In 1962, the Saar family moved to a rambling hillside home in Laurel Canyon, then a very rustic part of L.A. It put them in a hotbed of hippiedom right as the 1960s got rolling.

“Down the road was Frank Zappa,” Saar recalled in one interview. “There weren’t that many houses. We had the long skirts and long hair, and it was very casual. You’d go to a love-in or a concert.”

“We were as hippie-ish as hippie could be, while still being responsible.”

By the late ‘60s, she and Saar had divorced. But she remained in Laurel Canyon, where she would live and work until the end of her life.

Saar came to art almost by accident. In the late 1950s, she enrolled at Cal State Long Beach to pursue a master’s degree so that she could teach. But a stroll through campus led her past the university’s printing department.

“I walked past the print workshop and I was like, ‘Heyyy!’ ” she later recalled.

The master’s degree never happened. Instead, she poured herself into printing.

“I loved making prints,” she recalled. “The move into fine art, it was liberating. It gave me freedom to experiment.”

A pair of other, longer journeys, also proved formative.

There was a trip to Chicago’s Field Museum, where she immersed herself in the institution’s extensive collection of African art, followed by a trip to Haiti in the early 1970s. Saar was drawn to the Caribbean nation because of her interest in voodoo and magic — and the power that these could confer on inanimate objects.

“In the early 1960s I began going to coffee houses and they’d have books on the occult,” she told the New York Times in 1978. “I was attracted to signs and diagrams of alchemy and palmistry, and I began to use them in my prints. I also haunted second-hand and junk stores, and I started to frame my prints in old window frames.”

But it was a visit to an exhibition of the work of Joseph Cornell at the Pasadena Art Museum (now the Norton Simon Musuem) that inspired her to take a three-dimensional turn in her work. Saar was moved by the surreal qualities of the New York artist’s intimately scaled assemblages, which were often presented in small boxes.

“I immediately started collecting stuff after I saw that show,” she told the L.A. Times in 2016. “I started going to yard sales and estate sales.”

During the ‘60s and ‘70s, she took on a series of part-time jobs to provide for her children, designing costumes at a cultural center and teaching at area art schools. These provided her with necessary income, but also allowed her enough time to make work — which she often did at the kitchen table.

Saar’s creations from that era are on display through Aug. 22 at Roberts Projects. Titled, “Let’s Get It On: The Wearable Art of Betye Saar,” the show covers the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions.

“Art comes from the heart and the head,” she once said. “You don’t need to have a separate space in which to make it.”

Plus, art gave Saar a crucial political voice at a time of the civil rights and Black power movements. “If you are a mom with three kids, you can’t go to a march,” she once stated, “but you can make work that deals with your anger.”

“The Weight of Betrayal,” 2015, by Betye Saar.

(Brian Forrest / Roberts Projects)

In her assemblages, she incorporated symbols that channeled dark episodes of U.S. history and African American struggle: the schematics of slave ships, the hackneyed images of vintage kitsch and the cruel sobriquets used by white supremacists to describe Black children.

At first she was apprehensive about using this type of imagery in her work. “Blacks were ashamed of those derogatory images,” she told the New York Times. “I like to think I recycled those images from negative to positive.”

But there was power in those images — and Saar knew just how to harness it.

“Saar’s assemblage doesn’t just describe history,” wrote former Times art critic Christopher Knight of her work in 2019, “it embodies a visceral connection to it.”

She would go on to deploy these tropes in myriad ways throughout her career — in particular the stereotypical figure of the Black mammy.

This included one particularly potent work: a glass bottle featuring the visage of a smiling mammy, which she transformed into a Molotov cocktail. The piece, which for decades had been in a private collection, reappeared in the traveling exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” which went on view at the California African American Museum (CAAM) in 2017.

“Historically, the mammy was the ultimate image of Black female servitude in the American psyche,” wrote historian Steven Nelson in the catalog that accompanied a 2017 exhibition of Saar’s work at the Craft Contemporary (then known as the Craft & Folk Art Museum). “She was kind and giving. She cooked and cleaned and did the laundry. She took care of the children. She was harmless.”

By arming her mammies with revolvers, rifles and bullets, Saar turned a symbol of servility into one of militancy and power.

“Liberation of Aunt Jemima: Cocktail,” 1973, shown at the exhibition “We Wanted a Revolution” at CAAM in 2017.

(Jonathan Dorado, Brooklyn Museum / Betye Saar, Roberts Projects)

Her work also frequently touched on the personal: family, dreams, magic and the body (particularly the Black female body). In the process, she influenced a younger generation of artists, key figures such as Houston Conwill, Senga Nengudi and David Hammons.

“You can really see the impact she had on them,” said Kellie Jones, a scholar and independent curator who organized “Now Dig This!: Art and Black Los Angeles 1960-1980” at the Hammer Museum in 2011. “She had this multimedia practice. It was about Africa, but it was about the world. She has works with Mexican milagros, she has titles in Spanish, she at certain points has Asian influence and Haitian influence. She was really looking at the globe. She was a person in the world, and she really modeled that for people like Hammons and Conwill and Nengudi.”

Saar’s work resides in the permanent collections of more than 80 international museums, and in recent years, she was the subject of solo shows at the Museum of Modern Art in New York, the Prada Foundation in Milan and the Scottsdale Museum of Contemporary Art in Arizona (which hosted a retrospective).

In L.A., she had regular exhibitions at her Culver City gallery Roberts Projects, as well as one-woman shows at CAAM and the Craft Contemporary. In 2019, a small but potent show at the Los Angeles County Museum of Art explored the ways in which her drawing process factored into her assemblage work. But a full retrospective at one of her hometown’s major museums eluded her.

Saar told The Times that she didn’t let it bother her: “I’ve always done what I did and never felt I was competing with what was going on.”

An installation view of “Mojotech,” 1987, by Betye Saar at the Scottsdale Museum of Contemporary Art.

(Tim Lanterman / Scottsdale Museum of Contemporary Art and Roberts Projects)

If anything, she competed only with herself.

Well into her 90s, she continued to get up every day to craft assemblages out of the objects she had amassed in her studio. At 96, she scoured the Huntington Library gardens for a commissioned installation she called a “full-circle” project.

“I used to come to the Huntington with my mother when I was a child. She loved to garden, especially African violets, and she passed that love of plants and nature on to me,” Saar told the New York Times Style Magazine in 2024.

That love is palpable in “Drifting Toward Twilight” and its accompanying documentary, which sees Saar fawning over the orange tint of sloughed bark and the mystical qualities of garden scraps.

“Even in death those things can be really beautiful,” Saar said in the short documentary.

After working with a 17-foot canoe as a centerpiece for the Huntington exhibition, Saar told Curate LA that she felt compelled to return to small-scale pieces. The result was her 2024 Roberts Projects exhibit, “Betye Saar: New Work,” an objet trouvé medley in bronze and gold hues.

“At first, the new works were more nostalgic, with vintage photos and female ephemera, like gloves and such,” Saar said. “Then I brought in the tall ship bookends and African masks, and the works moved in a more ancestral and political direction.”

Even her grandson’s discarded computer parts made a cameo, a testament to Saar’s uncanny ability to mine inspiration from the most mundane objects.

“The worst problem for an artist is having nothing to say,” she once said in an interview. “I just have so many ideas. … Look at things that are important to you, what’s happening in your life. If you have that, you never run out of ideas.”

With her centennial on the horizon, Saar in 2025 formed the Betye Saar Legacy Group, a committee of her trusted curators and collaborators charged with preserving her vast archive and keeping her name fresh in the minds of new generations of artists.

A Saar biography penned by Zoé Whitley, who co-curated “Soul of a Nation: Art in the Age of Black Power,” is expected in 2027.

Saar is survived by her daughters Lezley, Alison (both artists) and Tracye (a writer), and her grandchildren Kyle Leeser, Maddy Inez, Sola Saar, Gen Saar Agustsson, Spencer Saar Cavanaugh, Megan Cavanaugh

Times staff writers Malia Mendez and Jessica Gelt contributed to this report.

A piece of iconic Los Angeles architecture and one of pop culture’s most recognizable exteriors is on display as the Pasadena home featured as Wayne Manor in TV’s original “Batman” hits the market this month for $32 million — less than a year after it was last sold.

The seven-bedroom, 11-bathroom Jacobean Tudor Revival home on 5 acres of gated land was built in 1928 by the L.A.-based architectural firm Morgan, Walls & Clements. This is the same firm responsible for some of L.A.’s most fantastical and beloved architectural creations including the Wiltern, El Capitan and Mayan theaters. It’s located at 380 S. San Rafael Avenue in Pasadena, in a lush, wooded area above the Arroyo Seco near the Rose Bowl.

The home, which features a stately mahogany main staircase and a genuine butler’s pantry worthy of Alfred Pennyworth, was made famous by the “Batman” TV series, which originally aired on ABC from 1966-68. During that time a man named Norman Preston van Valkenburgh lived there with his family. Film crews shot at the home for three days in 1966, but only external shots ended up being used as stock footage for Wayne Manor.

Over the years fans began to confuse the mansion with another nearby estate — the work of one of the city’s most prominent Africa American architects Paul R. Williams . The home, which The Times cheekily called an “imposter” in a 1989 article, burned down in 2005 while being renovated by its owner, Michael Hammer, grandson of the late oil tycoon Armand Hammer. At that time, crowds of “Batman” fans gathered before the smoldering ashes lamenting the loss only to discover they had the wrong house.

If the real Wayne Manor sells for its $32 million asking price it will break its own record for a residential sale in Pasadena. That record was set only last year when the current owner bought it for $20.5 million.

It will take just one super fan with Bruce Wayne-deep pockets to snap up this dreamy estate. Spoiler alert: There is no Bat Cave, but there is a pickleball court, a resort-style pool, a private theater and an Architectural Digest pedigree.

I’m Arts editor Jessica Gelt counting the money in my swear jar and dreaming big. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Jeff LeBeau, left, and Tim Cummings in the West Coast premiere of Samuel D. Hunter’s “Grangeville” at the Ruskin Group Theatre Arts Center, directed by John Perrin Flynn.

(John Perrin Flynn)

Grangeville
The West Coast premiere of Samuel D. Hunter’s two-hander about a pair of estranged brothers concludes its acclaimed run at the Ruskin next weekend. In his review, Times theater critic Charles McNulty wrote that the playwright “turns his characters inside out in a play that powerfully illuminates a subject that has rarely been treated onstage with such unflinching honesty and sensitivity: How does one integrate a past that took everything to escape?”
8 p.m. Fridays and Saturdays; 2 p.m. Sundays through Aug. 2. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica. app.arts-people.com

Sounds of LA County
Country music in Sylmar and Quartz Hill; disco, soul and R&B in South L.A.; regional Mexican music in Florence-Graham and La Puente; deep house, Afrobeats, hip-hop and funk in East Compton; global acoustic in Willowbrook; and live salsa in East L.A. are this week’s offerings in the free summer series from LA County Parks and Nextfest LA. The program continues through August.
6-9 p.m. Friday, Saturday and Thursday. Check website for exact days and locations. soundsoflacounty.com

SATURDAY

Joe Hisaishi presents Music Future
Coming off three nights at the Hollywood Bowl, the Japanese composer moves to a more intimate setting to celebrate the work of contemporary composers, including Nico Muhly, Bryce Dessner and Max Richter, with the LA Phil New Music Group.
8 p.m. The Ford, 2580 Cahuenga Blvd. East theford.com

The Hour of the Star
Brazilian actor Bruna Fachetti stars in the world premiere of a stage adaptation of the novella by Clarice Lispector about an impoverished woman dreaming of a better life in Rio de Janeiro. The limited, five-performance engagement was conceived and will be directed by Alex Tietre from the English translation by Pulitzer Prize-winning author and Lispector biographer Benjamin Moser.
7 p.m. Saturday, Sunday, Thursday, July 31 and Aug. 1. The Broadwater Black Box Theatre, 6322 Santa Monica Blvd., L.A. eventbrite.com

SUNDAY

Boris Brejcha performs during the 2023 Coachella Valley Music and Arts Festival .

(Matt Winkelmeyer / Getty Images for Coachella)

Boris Brejcha with the Hollywood Bowl Orchestra
The masked German DJ makes his global orchestral debut. The techno DJ duo Frieder & Jakob open the show. Be prepared to dance.
7 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Murder on the Orient Express
Sidney Lumet’s 1974 version of the Agatha Christie mystery, adapted by Paul Dehn, earned six Oscar nominations. Alfred Finney, nominated for leading actor, stars as the meticulous Belgian detective Hercule Poirot investigating a killing aboard the famous train. Also starring Lauren Bacall, Martin Balsam and Ingrid Bergman, who won the Oscar for supporting actress. Part of the Oscar Sundays series.
2 p.m. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org

TUESDAY

Rhapsody in Blue & Shostakovich
Marin Alsop conducts the Los Angeles Philharmonic in Anna Clyne’s “Masquerade,” Gershwin’s soaring American classic (with pianist Conrad Tao) and Shostakovich’s Fifth Symphony.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Peter Finch in ‘Network.’

(TCM)

Network
“I’m mad as Hell and I’m not going to take it anymore!” shouts Peter Finch as news anchor Howard Beale in this 1976 satire directed by Sidney Lumet and written by Paddy Chayefsky. The film was nominated for ten Academy Awards, winning four: leading actor, posthumously, for Finch, leading actress for Faye Dunaway, supporting actress for Beatrice Straight, and original screenplay. Fifty years later, it feels as prescient as ever.
2 p.m. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org

Arts anywhere

André De Shields, left, Reeve Carney, center, and the cast of Hadestown perform onstage during the 2019 Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

Hadestown: The Musical
The hit Broadway show, winner of eight Tonys and a Grammy, comes to movie theaters for a special five-day engagement. “The show travels to the underworld and back again with liquified grace,” wrote Times theater critic Charles McNulty. “Unfurling like a dream, ‘Hadestown’ speaks most eloquently through its sultry jazz score.” With Reeve Carney as Orpheus André De Shields as Hermes, Amber Gray as Persephone, Eva Noblezada as Eurydice and Patrick Page as Hades.
Friday through Wednesday, theaters everywhere. bleeckerstreetmedia.com

— Kevin Crust

Culture news and the SoCal scene

The Hollywood Bowl during a summer concert.

(Myung J. Chun / Los Angeles Times)

The Hollywood Bowl recently debuted its biggest sound system upgrade in decades (featuring AI-powered vocal isolation and immersive, surround-sound), and Times classical music critic Mark Swed weighed in on why audiences should be careful of what they wish for. Still, the jury is out: “It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune,” Swed writes.

Swed also attended a showing of two of Yoko Ono’s famous performance pieces at REDCAT (in collaboration with the Broad, which is currently showing a major Ono retrospective). Titled “Sky Piece” and “Cut Piece” the music-driven works featured compositions by Ono’s friend and collaborator John Cage (Swed writes about the pair’s complicated relationship in New York during the 1960s). Swed also extols “Cut Piece” as performed bythe artist known as MPA, who sat stoically as the audience lined up to cut patches of her clothing off piece by piece.

Sean Luc Rogers and James Tupper in “F— Strangers” at the Echo Theater Company.

(Cooper Bates)

Times theater critic Charles McNulty headed to Echo Theater Company to see playwright Erik Patterson’s “F— Strangers,” directed by Echo Theater Company founding artistic director Chris Fields. McNulty found the show, which features scene after scene of intimate encounters, “intriguing and frustrating in equal measure.”

“It’s over 8 feet tall, nearly 11 feet wide and travels by 53-foot semitrailer. It’s covered in more than 20,000 beads and weighs almost 1 ton — or about 2,000 pounds,” writes The Times’ Eloise Rollins-Fife in her charming profile of “Gillian,” the chandelier featured in “Phantom of the Opera’s” current North American tour.” “And eight times a week, it’s dropped atop the heads of people who pay for the privilege — just a few feet short of actually hitting anyone.” “Phantom” is currently playing the Hollywood Pantages Theatre before it moves on to Segerstrom Center for the Arts in Costa Mesa.

Kihun Yoon, Michael J. Hawk, Nicholas Brownlee and Salmir Pirgu, from left, perform during an L.A. Opera dress rehearsal for Barrie Kosky’s “La Bohéme” at the Dorothy Chandler Pavilion on Sept. 12, 2019.

(Dania Maxwell / Los Angeles Times)

Bernard A. Greenberg, a founding board member and former chairman of L.A. Opera, has died at 95. Throughout his life Greenberg was a devoted opera fan and a champion of establishing a dedicated opera company in the city, which ultimately led to the 1986 creation of L.A. Opera. As a philanthropist, civic leader and arts advocate, Greenberg dedicated more than seven decades to steering L.A. Opera and creating the renowned company that it is today. He served on the board of directors for 40 years and held almost every major leadership position during that time. He and his wife, Lenore, also founded the Bernard A. and Lenore S. Greenberg Opera Fund — an endowment that continues to support some of the company’s most vital work.

“If anyone could be called the founder of LA Opera, it is Bernie Greenberg,” said Keith R. Leonard, Jr., Chairman of LA Opera’s Board of Directors in a statement about Greenberg’s death. “For more than 70 years, he devoted his extraordinary wisdom, leadership and generosity to building this company into the institution that serves our audiences today. Bernie believed deeply that opera could enrich lives and strengthen our community, and he worked tirelessly to make that vision a reality. His legacy is woven into every chapter of our history, and all of us at LA Opera are profoundly grateful for his friendship, his guidance and his unwavering commitment to this company.”

IAMA Theatre Company has announced its 2026-2027 season, including three world premieres, as well as its ninth New Works Festival, featuring a variety of new plays by fresh talent. The season kicks off with “Bobby Robotowitz” by Matt Schatz and directed by Casey Stangl, which will be performed from Oct. 15-Nov. 23 in two secret venues — one on the Westside in October and one on the Eastside in November. (When you buy a ticket you find out the location.) The season will end with IAMA’s first collaboration with Geffen Playhouse: the world premiere of “Closing Costs” by Grace McLeod, which was originally developed during IAMA’s 2024-2025 Emerging Playwrights Lab. For the full season lineup, and to buy tickets, click here.

— Jessica Gelt

And last but not least

This adventurous family of four is raffling off their $2 million home just outside of London in order to travel the world. I tip my hat to them because this is something I would think of doing but never actually do. Instead, I think I’ll buy a ticket or two.

The Lucas Museum of Narrative Art on Thursday announced its inaugural film programming, which will be screened nonstop during museum hours in two dedicated 299-seat theaters. Entry to the theaters is included with each general admission ticket, and visitors can enter and exit at any time, creating a free-flowing set of ancillary exhibition spaces with a goal of furthering the museum’s mission of exploring storytelling in its many forms.

One of the theaters will play museum co-founder George Lucas’ student films, made between 1965 and 1969, among other rare offerings. A schedule of screenings will be provided to visitors as they enter so they can plan their day around what they’d like to see, and programming will be changed periodically through the year. The theaters will also be used for special events.

“The film program, like so much in the museum, is unique in its structure and content. It is an open-door program that runs continuously throughout the day, allowing people to come and go at their leisure,” Ryan Linkof, senior curator and head of the museum’s film programs, wrote in an email. The news was first revealed Thursday during a Hall H panel at San Diego Comic-Con. “In this way, it fits within the larger mission of the museum to allow visitors to choose their own path through the museum and discover content at their own pace. It is also a varied and diverse program that includes everything from the earliest cinema experiments to avant-garde film, documentaries and animation, providing a platform for many underrecognized and rarely seen films and filmmakers.”

Adjacent to each other on the ground floor, off the north lobby of the $1-billion museum, the theaters are named after two giants of film history: Robert J. Flaherty, whose 1922 silent film “Nanook of the North” revolutionized documentary filmmaking; and early Hollywood montagist, cinematic artist and experimental filmmaker Slavko Vorkapich, who also served as chair of the USC film department from 1948 to 1950, more than a decade before Lucas enrolled in the program.

Two 299-seat theaters will be located on the ground floor of the new Lucas Museum of Narrative Art, which opens to the public Sept. 22.

(Jason Armond / Los Angeles Times)

The Flaherty theater will be dedicated to documentaries, including those that chronicle the work and artistic process of many of the artists and storytellers featured in the museum’s opening exhibitions such as Norman Rockwell, Jim Lee, Charles M. Schulz, Maurice Sendak, Diego Rivera, J.C. Leyendecker and Weegee. The museum will also screen “Seeing Is Believing: The Story of Narrative Art,” a new documentary series it commissioned from Robin Dashwood. It will also show episodes of the 2024 television series “The Power of Film,” created by Howard Suber and directed by Laura Gabbert, and the 1988 Ron Mann-directed doc “Comic Book Confidential.”

The experience will be more avant-garde in the Vorkapich theater, which will contain programming “showcasing cinematic innovation and imagination through experimental and formally inventive short films that speak to the essence of cinema: the magic of seeing still images come to life,” wrote Linkof.

Offerings include Lucas’ student films, as well as montage sequences by Vorkapich for movies like “Mr. Smith Goes to Washington”; silent films by Georges Méliès, Émile Cohl, W.K.L. Dickson, Edwin S. Porter and more; early animations by Winsor McCay; experimental films created by Man Ray and László Moholy-Nagy; early sound animations by Walt Disney and Fleischer Studios; experimental films by Canadian animator Norman McLaren; Looney Tunes cartoons; abstract “visual music” works by Mary Ellen Bute, Oskar Fischinger, Jordan Belson and others; excerpts from Busby Berkeley musicals; experimental films from the 1960s by Stan Brakhage and Kenneth Anger; experimental animation by Vince Collins; “Cowboy Bebop”; and an episode of “Star Wars: Visions.”

The Lucas Museum opens Sept. 22. Tickets went on sale Tuesday and were going briskly, with digital wait times reported of more than four hours in queues with as many as 13,000 guests. Museum representatives declined to comment on how many sold that first day, noting, “We’re grateful for the response and early enthusiasm from our Founding Member community and first wave of visitors. We look forward to welcoming them in September.”

United States Secretary of State Marco Rubio has met his Chinese counterpart Wang Yi at a gathering of southeast Asian foreign ministers, to discuss how to manage bilateral tensions ahead of a planned summit between US President Donald Trump and China’s Xi Jinping.

The meeting on the sidelines of the Association of Southeast Asian Nations (ASEAN) gathering of foreign ministers in Manila on Wednesday came amid tensions over China’s conduct in the disputed South China Sea and the US war against Iran. ASEAN countries have expressed concerns about both issues at the meeting.

Relations between Washington and Beijing have also been complicated by Trump’s accusations that China meddled in US elections, allegations Beijing has dismissed as “pure fabrication”.

Rubio said the US and China have “great differences” that are likely to persist “for the foreseeable future”, but that he and Wang discussed the need to manage those disagreements to ensure Xi has a “very positive visit” to the US. Xi is expected to visit in September.

Wang said the US must “respect China’s core interests … effectively manage differences and disagreements, and address China’s legitimate concerns”, according to an official Chinese summary of their meeting. It described the talks as “pragmatic, positive and constructive”.

The two sides agreed to “make sound preparations for the next stage of high-level exchanges,” China’s Ministry of Foreign Affairs said in a statement.

‘Commerce as geopolitical weapon’

Wednesday’s meeting came two days after a confrontation between Chinese and Philippine vessels in the South China Sea left a Philippine sailor injured, leading both countries to summon each other’s ambassador.

The incident this week took place on Monday at the disputed Second Thomas Shoal. The Philippines ⁠said Chinese coastguard struck one of ⁠the Philippine navy staff on the head with a wooden baton, while China said the Philippine personnel were the first to attack and accused Philippine vessels ⁠of ramming a Chinese patrol boat.

Rubio said the altercation benefited nobody, adding that Washington had ⁠reiterated in all its meetings that it was bound by a defence treaty to stand up for Manila.

“We intend to live up to our treaty obligations, and I think we’ve done so, and will continue to do so,” he said.

Rubio’s remarks echo an opinion piece he published in Philippine media on Tuesday about Beijing’s conduct in the South China Sea. Rubio warned of “dire new threats” if those waters were to “fall under the control of a power willing to use commerce as a geopolitical weapon”.

Beijing claims sovereignty over almost the entire South China Sea via a line on its maps that cuts into the exclusive economic zones of Brunei, Indonesia, Malaysia, the Philippines and Vietnam, and is at the centre of long-running disputes over a multitude of islands.

Disputes between the Philippines and China have increased in recent years as Manila takes a bolder stance while pursuing closer defence ties with the US, Australia and Japan.

The US has increased military financing for the Philippines to $100mn for the 2026 fiscal year and is providing an additional $9mn to expand a coastguard pier on the island of Palawan “to enhance Philippine maritime ⁠law enforcement presence and sustain operations in the South China Sea”, the State Department said in a fact sheet.

Discussing the US relationship with ASEAN member states, Rubio said the security and prosperity of the US and southeast Asia were closely interconnected.

“I believe very much that the future and the story of the 21st century will be written in this region and by how events unfold here,” he said.

Iran ‘not serious about talks’, says Rubio

Rubio also addressed the situation with Iran in a meeting with ASEAN foreign ministers, claiming that Tehran was responsible for the latest escalation.

“The problem we’re having right now is that they’re not serious about talks,” Rubio said. “If they’re serious, we’re serious. If they’re not, then we will do what’s necessary to protect our interests, and also the interests of our allies.”

The US has carried out strikes on Iran for eleven consecutive nights, including targeting roads, bridges and power plants in recent attacks, all but shattering an interim peace deal agreed by the two sides last month.

Rubio stressed that Iran could not be allowed to control the Strait of ‌Hormuz, as it could set a dangerous precedent for other parts of the world.

The top US diplomat also confirmed he would meet on Thursday with his Russian counterpart Sergei Lavrov to discuss the Ukraine war, saying that Washington remained open to playing a constructive role in ending the conflict.

The order prevents thousands from El Salvador, Sudan and Ukraine from losing work authorisation while lawsuit proceeds.

A United States federal judge has temporarily blocked the administration of US President Donald Trump from revoking work permits for tens of thousands of asylum seekers and immigrants with Temporary Protected Status (TPS), preventing a policy that was set to take effect as early as Wednesday.

On Tuesday, US District Judge Nathaniel Gorton sided with immigrant rights groups and labour unions challenging a series of new US Citizenship and Immigration Services (USCIS) policies that implement immigration restrictions passed by Congress last year.

In the five-page order, he wrote, “The consequences faced by plaintiffs are potentially severe.” The order will stay in place while he considers whether to issue a longer-term injunction, with a decision expected by August 5.

The lawsuit, filed earlier this month by a coalition of organisations represented by the legal group Democracy Forward, challenged a number of recent USCIS policy changes. Those include a new policy allowing the agency to reject pending asylum applications and revoke work permits if applicants don’t pay a newly created annual asylum fee, as well as its decision to scrap a decades-old rule requiring initial asylum work permit applications to be processed within 30 days. The lawsuit argued USCIS made the changes without public input, as required by law.

It also challenged the retroactive application of the new rules to people from El Salvador, Sudan and Ukraine, who are still protected by TPS, which allows people from countries affected by war, natural disasters or other major crises to live and work legally in the US until it is considered safe for them to return home.

“This decision protects thousands of asylum seekers and TPS holders from immediate and irreparable harm while this case moves forward,” said Democracy Forward president, Skye Perryman, in a statement. “Without this relief, families who have followed the law and relied on longstanding humanitarian protections faced the sudden loss of their employment authorisation and ability to support themselves through no fault of their own.”

The ruling means thousands of TPS holders from El Salvador, Sudan and Ukraine will be able to keep working while the legal challenge moves forward.

While the judge didn’t block the collection of the asylum fee on Tuesday, he did temporarily block the consequences of not paying it, including having an individual’s application rejected or work permit terminated.

The controversial provisions were introduced as part of Trump’s signature tax and spending law, the so-called One Big Beautiful Bill Act, passed by the Republican-controlled Congress in July 2025.

The Trump administration has made ending TPS protections a central part of its immigration agenda, moving to take the status away from people from more than a dozen countries. Last month, the US Supreme Court allowed the administration to end protections for thousands of Haitian and Syrian immigrants.

USCIS did not immediately respond to a request for comment from the Reuters news agency.

Ryker Wixom is a 6-foot-2, 195-pound junior tight end for Saugus High. It was his idea to organize a food drive on Saturday from 9 a.m. until noon in the school parking lot, encouraging anyone and everyone to bring canned goods to help out his community. He’s pretty strong, so he’s capable of lifting lots of canned goods, but he’ll have the whole football team on hand for support.

The Santa Clarita Food Pantry is scheduled to send out a truck to load the donated goods.

“I feel we need to make our mark in the community and help out,” Wixom said of his project. “Food drives have been going on for a long time. I feel it’s a great way to help out our community.”

With the support of coach Jason Bornn, the team will set up tables in the parking lot for people to donate and drop off items. Rather than playing in a passing tournament on the eve of official practice beginning on Monday, Wixom and his teammates are choosing to do something that will help others.

Isn’t that what playing high school sports is supposed to be about — learning lessons as a team that will prepare you for adulthood.

Philippine Foreign Secretary Theresa Lazaro said the Association of Southeast Asian Nations (ASEAN) must work together to shield external pressures, as the group holds a summit in Manila.

Hardly anyone walking up Peppertree Lane notices the Hollywood Bowl Museum on the way to the amphitheater entrance. The overlooked museum, however, has been refreshed with an enchanting new exhibition. Well-timed, it provides an excellent primer on changing L.A. mores seen through the history of the Bowl over the past century.

Change is again upon us. As Angelenos have evolved, so have our ideas about the Bowl. A concert was a concert and audiences of yore dressed for the Los Angeles Philharmonic, indoors or out. Men wore coats, ties and fedoras. I have a photo of my mother at the Bowl on a chilly 1940s evening sporting, like other ladies around her in the inexpensive bleachers, her mink stole.

The Bowl was said to boast, before the construction of the Hollywood Freeway, a natural acoustical, well, bowl. Even so, sonic adventurers, beginning with Leopold Stokowski in the 1930s, experimented with amplification in an obsessive, seemingly quixotic effort to locate a mythical sonic grail on the Cahuenga Pass. Boys with their toys, thought The Times’ feisty critic Isabelle Morse Jones.

We now have it with a spectacular new sound system along with the old caveat: Beware of what you wish for.

The Bowl, of course, remains the Bowl. Last week when the Los Angeles Philharmonic opened its summer season in the venue it built and has managed for over a century, there were all the familiar alfresco and musical pleasures: convivial picnicking, fine weather, inimitable atmosphere, a white-jacketed orchestra on an iconic stage. The museum’s panorama of ageless ambience is this summer enhanced by increased yet snappy security and a handsome “John Williams Stage” plaque honoring L.A.’s beloved composer.

The newly designed white French loudspeakers suspended over the Bowl stage along with ground-level white cubes of super-effective subwoofers have clean, unobtrusive lines that well fit the shell. Their unobtrusive placement complements their immersive musicality, hitherto only possible outdoors with high-end earphones or headphones connected to sophisticated digital acoustic conversion equipment costing a bundle. For the first time, a dollar seat (there are still a few for the L.A. Phil) strives for such sonic bliss.

It feels miraculous. You are in an excellent concert hall-like acoustical environment while in the great outdoors. Our earbuds have already trained us to think of music as a private escape from reality. Even so, to be in that environmentally exclusive sonic world while sharing music with thousands of others in a special setting, ironically begins to feel more artificially escapist than a crummy sound system that reminds you of where you are.

Will we — should we — learn to love it and find anything less artificial? Car audio systems creating concert hall conditions suggest we will. Audiophiles well know that you get used to new equipment, no matter how revelatory it first sounds, very quickly.

A few years ago, when I heard a demonstration of a souped-up, hi-res recording in surround Dolby Atmos of excerpts from Wagner’s “Die Walküre” on a 32-speaker Burmester audio system crammed into a fancy Mercedes SUV, I was scared out of my wits. “Apocalypse Now” on the 405 is not for the faint of heart.

Yet I’ve spared no expense on what I find a more refined sound system in my Volvo, which I now use more and more for audio books than music. The richer, more human quality of a recorded voice is like having a virtual companion reading to you. I’m less in a hurry. It’s nice to have a pal at rush hour.

It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune.

One big change in Bowl priorities has been the rise of pop as king. Not that long ago, the L.A. Phil’s opening night was the Bowl opening night, suitable for conspicuous socialite picnicking. Not only has the Bowl opener been turned over to star pop performers (who bring in bigger bucks), this year there wasn’t even a first L.A. Phil Tuesday. That date became yet another money-maker with private event — a screening of “Moana” with live orchestra, luckily before the disappointing reviews and box office performance. The first L.A. Phil concert of the season was moved to Wednesday and poorly attended.

The back-to-back Wednesday and Thursday night programs featured music composed and performed by Americans. Each included a short new work commissioned by the L.A. Phil. On Wednesday, moonlighting Hollywood Bowl Orchestra music director Thomas Wilkins led the premiere of Shaina Taub’s “Suffs” Song Cycle — orchestrations of four songs from her recent musical about women’s suffrage that played just down the road at the Pantages last year. The next evening, Tito Muñoz made a strong L.A. Phil debut in a program that included the premiere of “The Art of the Goal,” celebrating Los Angeles Football Club, and that was credited jointly to filmmaker Josh Kahn and composer Adam Schoenberg.

Both premieres were reminders that the sound system will have many purposes. In “Suffs,” stalwart amplification emphasized the predictability of forthright lyrics and score. AI is supposed to make voices stand out, but it is not helpful to singers’ limitations. On the other hand, is brought out the sumptuous quality Alex Newell’s voice potently making the adamant “Keep Marching” keep marching.

Muñoz’s program was titled “The Classical World Cup,” with music by Argentine composer Alberto Ginastera, Mexican composer Silvestre Revueltas and U.S. composers Samuel Barber and Aaron Copland along with Schoenberg. As it turned out, Mexico and the U.S. were already out of World Cup competition, and “Art of the Goal” came across as an eight-minute advertisement for the L.A. footballers. They’re in the dressing room revving up and, on the field, revved up, sped up, cut up with music that excites and far too many shots of a soccer field lined with advertisements, just the kind of branding we hope to escape at the Bowl.

Then again, even though “Goal” was shown only on video monitors, the Bowl with its new sound system worked brilliantly as the grandest cinema on the planet. Hollywood may be hurting, but let the Bowl now save the day by inspiring Hollywood to reinvent, in its backyard, film with live music.

As for regular orchestral music, the sound system was hit and miss. On Wilkins’ program, Valerie Coleman’s dark “Fanfare for Uncommon Times” brought a listener inside brass and percussion. Leonard Bernstein’s lavish orchestrations of his “Three Dances from ‘On the Town’” and Ellington’s “Harlem” benefited from Wilkins’ low-key conducting, offering ease and freedom to the players.

Muñoz’s program was bookended by dance scores — Ginastera’s “Four Dances from ‘Estancia’” and Copland’s ballet “Billy the Kid” — that evoke the prairie and the people in it in both viscerally and spiritually. The new sound system and eager performances made the prairie feel close. In between, violinist Randall Goosby brought richness to Barber’s Violin Concerto and the L.A. went in for gripping weirdness in “Sensemayá.”

But who did what? Were balances the conductors’, the sound engineers’, AI’s? While the amplified soundstage is now as huge as the Bowl, attention was increasingly drawn to individuals, heightened by video closeups. A horn flub (and horns flub) stands out. The sound is not just big and bold, but scrubbed clean by AI with the goal of maddening perfection. Will such scrutiny, in the end, make players uptight or liberate them? It’s well to remember that in the early days of synthesizing instruments, violins with perfect vibrato sounded especially fake, until tiny errors generated by chance were added to the sine waves.

The Hollywood Bowl has created a beast. If humanized, the Bowl could serve as antidote to a worrisome AI future. But the question remains whether we can change AI or the newly potent sound waves only make matters worse.

On Monday, more than 40 fake trophies were stacked at the base of a 10-foot-tall “Iran War Participation Trophy” made for President Trump and placed on the National Mall by the anonymous satirical activist group Secret Handshake.

The large golden trophy is part of a growing trove of protest art pieces erected by the group since Trump was reelected to his second term in office. Previous installations, which have all received the necessary permitting for legal display, include one of Trump and convicted sex trafficker Jeffrey Epstein holding hands, and a playable retro video game called “Operation Epic Furious: Strait to Hell.”

The new participation trophy is equipped with a plaque that reads:

“We hereby award President Donald J. Trump this participation trophy for his enthusiastic involvement in the Iran War. While some concern themselves with military strategy, diplomacy, or measurable outcomes, President Trump demonstrated the courage to participate regardless of the final score.

As recipient of this prestigious award, President Trump joins the ranks of children everywhere who receive recognition for simply showing up. We join you in celebrating this remarkable achievement.”

Secret Handshake noted in a letter to The Times that the installation serves as the nation’s first official “Donald Trump Trophy Donation Center, encouraging the public to drop off their own personal trophies, medals, and ribbons at the base of the monument for The President to claim as his own. Together, we hope that if enough trophies are donated he will be perceived as a winner and not feel the need to bomb other countries.”

A representative for Secret Handshake said the dozens of donated awards include certificates, trophies, medals, a wrestling belt and a Kennedy Center sash.

“I’m really thrilled to see people taking an active interest in joining in and bringing their own creativity and having their own voice heard by adding trophies to the base of this instillation,” the representative wrote in an email. “I think it’s exciting and I think when people can take a moment to tangibly express their opinion about this government’s war it helps to create a reminder that we aren’t alone. This isn’t normal. This shouldn’t just be accepted at face value.”

One of the best offerings is titled, “First Place in ‘I Know a Pool guy,’” and reads in part, “Participation trophy for Donald Trump in recognition of his renovation of the nation’s historic reflecting pool to more clearly reflect his efforts to criminalize the touching of a public monument in order to cover up the damage he caused …” The award also recognizes Trump’s “development of American Flag Blue pool liner, which he said was indestructible (unless cut by left wing radical terrorist vandals).”

Secret Handshake has extended an offer to “hand deliver both the participation trophy and all smaller trophies to the Trump Administration for The President’s glowing collection of fake accolades.”

I’m Arts editor Jessica Gelt taking First Place in time wasted mulching my garden in the heat. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

“Etai & Felipe Pantone: Parallel Practices: Tailored Structures & Kinetic Surfaces” at albertz benda.

Etai & Felipe Pantone
“Parallel Practices: Tailored Structures & Kinetic Surfaces” combines Pantone’s wall-based artworks and a series of collaborative design pieces to challenge ideas of use, intimacy and lived experience, placing each work in the interconnected artistic system.
Opening, 6:30–9:30 p.m. Friday; exhibit continues through Aug. 8. albertz benda, 8260 Marmont Ln. albertzbenda.com

New Swan Shakespeare Festival
The Bard is back in the O.C. at the troupe’s open-air, Elizabethan-style portable theater with “The Merry Wives of Windsor Cove,” a musical adaptation set in a 1950s SoCal beach town, in repertory with “Romeo & Juliet,” the classic tragedy reimagined amid the scarcity of the Dust Bowl.
“Merry Wives,” 8 p.m. Friday, Saturday, Thursday and various dates through Aug. 30; “Romeo,” 8 p.m. Sunday, Wednesday and various dates through Aug. 29. New Swan Shakespeare Festival, Inner Ring Road, UC Irvine. newswanshakespeare.com/

SATURDAY

“Cyrano” at the Old Globe, San Diego.

(Ben Wiseman)

Cyrano
An irreverent take on “Cyrano de Bergerac” by Edmond Rostand, adapted by Jason O’Connell and Brenda Withers, directed by Annie Tippe.
Previews, 8 p.m. Saturday; 7 p.m. Sunday, Tuesday and Wednesday; opening night, Thursday, 7 p.m.; continues through Aug. 9. The Old Globe, 1363 Old Globe Way in Balboa Park, San Diego. TheOldGlobe.org

F**king Strangers
The world premiere of a dark comedy about love and loneliness by Erik Patterson, directed by Chris Fields.
Previews, 8 p.m. Friday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 24. Echo Theater Company, Atwater Village Theater, 3269 Casitas Ave. echotheatercompany.com

Yoko Ono’s ‘Sky Piece to Jesus Christ’ + ‘Cut Piece’
A six-piece classical music ensemble from the Los Angeles Chamber Orchestra will be gradually wrapped in gauze until the musicians can no longer play their instruments in “Sky Piece,” first presented to the public by Ono at Carnegie Recital Hall in New York in 1965. In “Cut Piece,” performed by artist MPA, the audience will be invited to cut away pieces of the artist’s clothing to take with them while the artist sits silently onstage. The performance was premiered by Ono at Yamaichi Hall in Kyoto in 1964.
6 p.m. Saturday; 2 p.m. Sunday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Marvelous Musicals
Professional and student dancers perform numbers from classic shows to modern favorites.
6:30 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org

Koak, “Portrait of Myself, the Shell,” 2024. Flashe and acrylic on linen; diptych. 74 x 118 inches

(Photo by Chris Grunder. Courtesy of the artist and Perrotin.)

Summerlove Sensation
A group show featuring Isabelle Albuquerque, Alex Anderson, Mustafa Ali Clayton, Gregor Hildebrandt, Susumu Kamijo, Rae Klein, Koak, Asuka Anastacia Ogawa, Katherina Olschbaur, Jean-Michel Othoniel, Andrew J. Park, Gahee Park, Aya Takano, Honor Titus and Pilar Zeta.
Opening, 6-9 p.m. Saturday; exhibition continues through Aug. 28. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com

A Weekend With Robert Rodriguez
The multi-hyphenate filmmaker will be on hand for anniversary screenings of “From Dusk Til Dawn” (1996) and “Spy Kids”(2001) with the filmmaker in person and performing with his musical groups, Chingon Band and The Rodriguez Family Spy Band.
“From Dusk,” 7 p.m. Saturday. “Spy Kids.” 2 p.m. Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

SUNDAY

Tensions, Personified
Readings of four short plays by John Binder are presented as part of the Odyssey’s Thresholds of Invention series.
4 p.m. Odyssey Ensemble Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com

TUESDAY

Ann Noble, left, and Robin McDonald in “Dead Man.”

(Carolina Rodriguez)

Dead Man
Ann Noble writes, directs and performs in this clown noir murder mystery co-produced by Theatre Ghosts. Co-starring Christian Haines, Jeffrey Johnson and Robin McDonald.
8 p.m. Tuesdays, through Aug. 4. Echo Theater Company at Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com

UCBackrooms
A one-night-only immersive, participatory comedy experience turns the Upright Citizens Brigade Theatre into an escape room.
Shows begin every 15 mins., 6-7:30 p.m. Upright Citizens Brigade Theatre, 5919 Franklin Ave. ucbcomedy.com

THURSDAY

Falsettos
The O.C. theater company The Wayward Artist presents William Finn and James Lapine’s Tony Award-winning, sung-through musical set in 1979 and 1981 about a Jewish man who leaves his wife and son for his male lover, and the ensuing upheaval to their lives.
8 p.m. Thursday, July 24-26 and July 30-Aug. 2. Irvine United Congregational Church, 4915 Alton Pkwy. thewaywardartist.org

Arts anywhere

Jason Huber, from left, Scott G. Jackson and Dana Dewes in “The Price” at Pacific Resident Theatre.

(Ian Cardamone)

The Price
The critically acclaimed production of the Arthur Miller drama at Pacific Resident Theater closes this weekend. “‘The Price,’ directed by Elina de Santos, thrives in the intimacy of Pacific Resident Theatre’s main stage,” wrote Times theater critic Charles McNulty when he reviewed it in April. “There’s not a moment in the play that isn’t deeply inhabited by a cast that understands the value of listening.” But don’t worry if you are unable to make it to the Westside. The final two shows will be available from the League of Live Stream Theater for $35, which includes a 24-hour on-demand replay.
2 p.m. Saturday; 3 p.m Sunday. Pacific Resident Theatre, 703 Venice Blvd., Venice; streaming at lolst.org/theprice

— Kevin Crust

Culture news and the SoCal scene

Miller Friedman, Ashley Maimes, Jonathan Blandino and Torianna Turnbow in Shakespeare’s “A Midsummer Night’s Dream” at Will Geer’s Theatricum Botanicum.

(Ian Flanders)

Summer is the ideal time to see theater out of doors (well, maybe not this broiling week, but at other times), and Times theater critic Charles McNulty has compiled this breezy list of “11 enchanting places to see outdoor theater in Southern California.” Spoiler alert: Shakespeare is well-represented, but remember, the Bard’s work was originally staged in an open-air theater.

McNulty also headed to Pasadena Playhouse for the opening of the two-person hip-hop musical “Mexodus,” which tells the little-known story of an Underground Railroad route to Mexico. McNulty was taken with the show, which arrived at the Playhouse after its award-winning off-Broadway run, calling it “hands down the most charming, innovative and warmly embracing new musical I’ve seen in the last year.”

Artist Betye Saar is photographed at her home in Laurel Canyon on Tuesday, June 30, 2026.

(Christina House/Los Angeles Times)

Betye Saar turns 100 on July 30, but the famed artist is still more interested in creating new work than discussing her groundbreaking legacy. Times contributor Tara Anne Dalbow wrote this lovely profile of Saar after a visit to her vibrant home studio in Laurel Canyon. “There are certain people who redefined what was a very narrow definition of American art, and Betye is absolutely one of them,” curator Zoé Whitley told Dalbow.

Los Angeles County Museum of Art this week revealed that artist Vija Celmins and filmmaker Denis Villeneuve will be honored at its upcoming Art + Film Gala, the first to be hosted since the spring opening of LACMA’s new David Geffen Galleries.

Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of California State University Northridge.

(The Soraya)

If you’re interested in buying single tickets to shows that are part of the Soraya’s upcoming season, now is the time. The venue just opened up its access from membership presale to the general public. Sutton Foster, Dance Theatre of Harlem and Audra McDonald are all making their Soraya debuts, as is the Los Angeles Philharmonic.

— Jessica Gelt

And last but not least

And you thought making the “Mona Lisa” out of Legos was hard. The company has now paired with Vienna’s Belvedere Museum to release a 4,000-piece Lego set of Gustav Klimt’s “The Kiss.” You can buy the set, beginning Aug. 1, for $299.99.

An informal advisor to Los Angeles Mayor Karen Bass handled communications for her office for free while simultaneously working on a three-year contract with Los Angeles World Airports worth nearly $600,000.

Yusef Robb, who runs the firm tk/Communications, was an unpaid spokesperson and advisor for Bass from February through the beginning of June.

On June 19, Robb began working for Lineage Logistics, whose cold food storage facility in Boyle Heights burned for more than a week last month. He continued to serve as an unpaid, unofficial advisor to the mayor, though no longer as a spokesperson, until The Times and other outlets reported on his work for Lineage on Saturday.

Robb said the airport contract was unrelated to his work for the mayor. But a legal expert said the arrangement raises questions about whether his free labor was a gift to the mayor and whether working for the city and private clients creates conflicts of interest.

“This was done through a transparent and public competitive bidding process,” Robb said in an email to The Times. “I provide communications support and training.”

The Bass administration said Robb’s unpaid assistance was “for the benefit of the city. It’s not a gift.”

In 2024, Robb signed the contract with Los Angeles World Airports, or LAWA — the city department that operates Los Angeles International Airport and the Van Nuys Airport — for $450,000 over three years.

He won the contract, which involved “executive media training” as well as “crisis communications,” over 10 other firms. It was updated in April to include additional work for $137,500.

A report from LAWA in support of the contract update said that “executive management at LAWA have benefited from successful, professional media training as well as support for LAWA crisis communications and response.”

Because tk/Communications has subcontracted to at least two other companies, Robb said his firm has earned no more than $315,000 over the three-year contract.

“There is no connection between the work Mr. Robb performs for LAWA and the assistance he provides for Mayor Bass’ Office,” said a spokesperson for Bass’ office. Bass is running for reelection against City Councilmember Nithya Raman.

The LAWA contract was Robb’s second with the city during the Bass administration. The city paid a total of $75,000 in 2022 and 2023 to Robb’s firm to provide “various communications services related to the start-up of the administration,” according to a contract.

Tk/Communications has worked for government agencies as well as political campaigns and private businesses, including the Los Angeles Department of Transportation, the Los Angeles Unified School District and the music and entertainment company AEG, according to the company’s website.

“We develop powerful narratives and engagement to accelerate and amplify our clients’ messages, whether they’re grounded in an investment proposal or a political campaign,” the website states. “We author and tell stories that build deep connections and lasting relationships that deliver more than you asked for.”

Robb has worked in and around City Hall for decades. He was a press aide in Mayor Jim Hahn’s administration, then worked for Eric Garcetti when Garcetti was a city council member and then mayor. He left Garcetti’s office in 2015.

Robb said he has provided “unpaid help to all sorts of people and businesses, to advance criminal justice reform, organize community movements, or just to find the right words.”

“I feel it’s important to help the city if I can,” he said.

Jessica Levinson, a professor at Loyola Law School and former president of the city’s Ethics Commission, said the airport contract shows how valuable Robb’s labor is, raising the question of whether he is providing a gift to Bass by working for her for free.

Another concern for the public, Levinson said, is that Robb is working for Bass at the same time that he has other clients and could potentially use his position at City Hall to advance those clients’ interests. His work for Bass could also make him more desirable for clients who believe he has the mayor’s ear, she said.

“What we’re worried about is undue influence, preferential access and backroom deals that benefit certain people, as opposed to the public,” said Levinson. “We don’t want public officials serving two masters.”

Still, Levinson said she does not believe that Bass has violated any laws by using Robb pro bono.

“This is an unusual setup,” she said. “That does not mean it’s illegal.”

A top spokesperson for Los Angeles Mayor Karen Bass left her administration Monday after a brief tenure, joining a growing list of communications aides who have departed over the past nine months.

Kolby Lee, who started as Bass’ director of communications in February, said he was resigning to spend time with family and loved ones.

“I’m very grateful to Mayor Bass for giving me the opportunity to be part of her team and serve the people of Los Angeles,” Lee said in a statement.

Bass’ communications office said in a statement to The Times, “We thank Kolby for his contribution to the office and wish him and his family well.” Bass is running for reelection against City Councilmember Nithya Raman.

The departures began in October, when Zach Seidl, Bass’ longtime deputy mayor of communications, left for the private sector.

Press secretary Clara Karger left in January after working for the mayor for nearly three years.

Bass then brought on Amanda Crumley to replace Seidl. But Crumley lasted little more than a month, leaving in March.

Lee started as communications director shortly before Crumley’s departure, serving for about five months.

During Lee’s time in the administration, Bass was also receiving pro bono communications help from Yusef Robb, an outside consultant who worked on her 2022 campaign.

Robb was not paid by the city for his work and served in an unofficial role providing comments on important issues, including Bass’ involvement in damage control surrounding the 2025 Palisades fire.

Lee provided comment to The Times in a story published Saturday about Robb’s work for the Bass administration at the same time that he is a crisis communications consultant for Lineage Logistics, the company whose Boyle Heights warehouse erupted in flames last month, inundating the area with toxic smoke and rotting food odors.

I was in New York City with my family on the day Taylor Swift and Travis Kelce tied the knot at Madison Square Garden. Although our hotel was a few short blocks from the venue, which was surrounded by swooning fans, we managed to steer clear. Instead, we headed for the Nederlander Theatre on 41st Street to catch “Schmigadoon.”

The show, which took the Tony Award for best musical last month, was at the top of my must-see list, along with two other recent Tony winners — “Death of a Salesman” and “Giant,” — which I wasn’t sure would be as appealing to my 10-year-old.

There is a certain magic to Broadway despite the crush of commercial horrors a person must wade through in Times Square to get to a show, and “Schmigadoon” did not disappoint. I don’t remember the last time I laughed so hard during a live show. The jokes about a modern couple trapped in a magical town stuck more than 200 years in the past hit the mark with just the right amount of bawdy fun.

SNL alumn Ana Gasteyer is pitch perfect as the town’s vengeful moral crusader Mildred Layton, but the real hero of the show is McKenzie Kurtz, who plays Betsy, a love-hungry young farm girl desperate to catch a man and get married. Kurtz’s comic delivery is so over-the-top that laughter is the only option — and once you start laughing with her you can’t stop.

Like most Broadway musicals , “Schmigadoon” features an ensemble cast that represents the very best of the best when it comes to dancing and singing. It’s clear these actors like one another and know that they have a good thing. There is joy on the stage that transfers effortlessly to the audience. It’s one of those only-in-New-York experiences to be treasured. The show is scheduled to run through Jan. 3.

When we stepped out into the night after the show, we found it had rained. The temperature that day had reached 99 degrees and the city had wilted, but the downpour caused the mercury to plummet a good 10 degrees. The lights of Broadway sparkled in puddles as we made our way down the slick sidewalk, singing the show’s most catchy tune, “It’s not a metaphor, oh no it’s something more, it’s a literal bridge.”

I’m Arts editor Jessica Gelt wishing you a summer vacation that is also a journey. This is your arts and culture news for the week.

Arts anywhere

FRIDAY

John Travolta listens for evidence which he hopes will trap a killer in Brian De Palma’s 1981 suspense drama, “Blow Out.”

(Filmways Pictures)

Blow Out
The Academy Museum’s Summer Thrills series features a 35mm screening of Brian De Palma’s 1981 thriller about a movie sound tech who unwittingly uncovers a political assassination. John Travolta, Nancy Allen, John Lithgow and Dennis Franz star.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

SATURDAY

Defiantly Joni
The artist collective Muse/ique, in partnership with Center Theatre Group, presents a celebration of singer-songwriter Joni Mitchell, featuring Chris Pierce, Effie Passero, the DC6 Singers Collective and the Muse/ique Orchestra led by artistic and music director Rachael Worby.
5 p.m. Saturday and Sunday; 7:30 p.m. Thursday, July 16 and July 17; 2:30 and 7:30 p.m. July 18; and 2:30 p.m. July 19. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. muse-ique.com

Installation view of Alex Hubbard Abstract or Regular? at Regen Projects, Los Angeles July 11–August 15, 2026

(Evan Bedford, courtesy the artist and Regen Projects)

Alex Hubbard
The exhibition “Abstract or Regular?” features video animations projected on wood cutouts by the Los Angeles-based artist, as well as a painting that demonstrates experimentation with the boundary between representational form and abstraction.
Opening, 5-7 p.m. Saturday; exhibition continues through Aug. 15. Regen Projects, 6750 Santa Monica Blvd., L.A. regenprojects.com

The Shoebox Museum: A Private Immersive Experience
A “narrative video game” is brought to life by theatrical and sensory vignettes that enhance the interactive audience’s examination of artifacts and memories of a past relationship.
Shows begin every 30-45 minutes, 1-10 p.m. Saturdays and Sundays, through July 26. Afterhours Theater, 5628 Vineland Ave., North Hollywood. eventbrite.com

Earnestine Phillips, from left, Cynthia Kania, Susan Angelo and Ellen Geer rehearse “Waiting in the Wings.”

(Ian Flanders)

Waiting in the Wings
Noël Coward’s 1960 play about a feud between two female residents in a retirement home for actors joins “Romeo & Juliet,” “A Midsummer Night’s Dream” and “Treasure Island” in the Theatricum Botanicum’s repertory season.
7:30 p.m. Saturday, through Oct. 3 (check schedule for specific days and times). Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com

SUNDAY

Journey Through Cahuenga: Indigenous Storytelling and Dance
Generations of Native narratives are expressed through music, poetry and dance. Scheduled participants include Dennis Garcia (Fernandeño-Tataviam, Chumash, and Tongva), Chad Hamill/ čnaq’ymi (Spokane), Eric Hernandez (Lumbee), and Carolyn M. Dunn, Ph.D. (Cherokee, Muscogee Creek, Seminole, Cajun, French Creole, and Tunica-Biloxi). Hosted by Tonantzín Carmelo (Tongva). An LA Soundscapes Family Concert featuring a pre-show activity and participatory artmaking. Doors open at 10 a.m.
11:30 a.m. The Ford, 2580 Cahuenga Blvd. E., L.A. theford.com

Mahjong Social With Mahjong Mistress
A full afternoon begins with a screening of the late Taiwanese American filmmaker Edward Yang’s 1996 film “Mahjong” followed by an open mahjong session for all experience levels led by Mahjong Mistress, a collective of four friends united by their love of the game and its use in fostering cultural connection and conversation.
1:30 p.m. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

MONDAY

Hudson Hawk
A 35th-anniversary 35mm screening of the 1991 Bruce Willis heist satire with director Michael Lehmann and co-screenwriter Daniel Waters; introduced by Larry Karaszewski.
7:30 p.m. Brain Dead Studios, 611 N. Fairfax Ave. studios.wearebraindead.com

TUESDAY

“Apparition, ” circa 1880–1890 by Odilon Redon. Charcoal, powdered charcoal, black chalk, and black and yellow pastel with stumping on brown paper. 20 11/16 × 14 11/16 in.

(Getty Museum)

Odilon Redon: Otherworldly Visions
The exhibition includes charcoal drawings, lithographs and pastels by the French artist from the Getty’s collection, revealing the inspirations and imagination that helped create them.
Through Oct. 18. Getty Center, 1200 Getty Center Drive, L.A. getty.edu

Harry Dean Stanton: Partly Fiction
On what would have been the actor’s 100th birthday, Vidiots welcomes the 2013 documentary’s director Sophie Huber for a screening hosted by Cherry Jones and a conversation with Logan Sparks, writer-producer of Stanton’s final film, “Lucky.”
7:30 p.m. Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org

National Museum of the Aftermath screening series
The final screening in the series pairs Reginald Alan Hudlin’s 1994 sci-fi short “Space Traders: Cosmic Slop” with William Greaves’ 1968 meta-documentary hybrid “Symbiopsychotaxiplasm: Take One.”
8 p.m. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu

Tchaikovsky & Beethoven
Cristian Măcelaru conducts the L.A. Phil for Tchaikovsky’s “Violin Concerto in D major, Op. 35” (with soloist Leonidas Kavakos on violin) and Beethoven’s “Symphony No. 7 in A major, Op. 92.”
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

The Lord of the Rings: The Fellowship of the Ring in Concert
The Pacific Symphony, soprano Kaitlyn Lusk, voices/LA and Los Angeles Children’s Chorus unite under conductor Ludwig Wicki for the 25th anniversary of Howard Shore’s Academy Award-winning score, performing live as director Peter Jackson’s epic film is projected on a 60-foot screen.
7 p.m. Thursday and Friday; 1 and 7 p.m. Saturday. Peacock Theater, 777 Chick Hearn Court, downtown L.A. peacocktheater.com

Mozart & Brahms
Spanish conductor Roberto González-Monjas leads the L.A. Phil on Korngold’s “Straussiana,” Mozart’s “Piano Concerto No. 19 in F major, K. 459” (with pianist Mao Fujita), and Brahms’ “Symphony No. 4 in E minor, Op. 98.”
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

— Kevin Crust

Dispatch: Remembering a master actor

Trisha Miller, from left, Josey Montana McCoy, Peter Van Norden and Dan Lin in “Misalliance” at A Noise Within.

(Craig Schwartz)

Peter Van Norden, one of Los Angeles’ most accomplished stage actors, died Wednesday at age 75. A graduate of Colgate University, he worked steadily in film and television, wracking up notable credits (“The Accused,” “St. Elsewhere,” “Murder, She Wrote”) over four decades.

But it was in the classical theater where he distinguished himself with his command of language and depth of human understanding.

He didn’t need to be cast as the star to elevate a production. His textual fluency and incisive, unfussy intelligence set a standard for his fellow company members, who might not be able to match him but couldn’t help gaining inspiration from his veteran example.

Cast as pompous Polonious and the mordantly witty gravedigger in the 2022 Antaeus Theatre Company production of “Hamlet,” he made me wish I could have turned back the clock to see him as Hamlet. I felt similarly when I saw him play Alonso at the Shakespeare Theatre Center in the 2023 immersive production of “The Tempest.”

What might his Prospero be like, I wondered longingly? Later that year, he got the chance to show me in a rackety Antaeus Theatre Company revival that unfortunately failed to make the most of his poetic gifts.

He was better served by the graceful 2024 production of “Misalliance” at A Noise Within, where he played the wealthy underwear industrialist John Tarleton in a voluble comedy of ideas that proved Van Norden was as adept in crisp, rational, talky idiom of George Bernard Shaw as he was in the more supple iambic pentameter of Shakespeare.

He was slated to appear as Capt. Shotover in Antaeus’ upcoming production of “Heartbreak House,” Shaw’s masterpiece. It was a role he had long wanted to play, and I can’t imagine the part being better cast.

For his heroic service to Los Angeles theater, Van Norden received the 2024 Michael McCarty Recognition Award, honoring Los Angeles–based Actors’ Equity members who have built their lives in the theater. I remember cheering from my desk the moment the announcement landed in my email inbox. Sometimes the award gods get things right.

Van Norden, who is survived by his wife, Wendy, and his son, Robert, a film producer, inspired that kind of hearty, spontaneous, grateful applause. Whenever I saw his name in a theater program, I breathed more easily, knowing that whatever else might happen that evening I would at the very least have the pleasure and the privilege of another Van Norden master class.

— Charles McNulty

Culture news and the SoCal scene

Nael Nacer, from left, Andrea Martin and Susan Pourfar in “Meet the Cartozians” by Talene Monahon at Second Stage Theater.

(Photo: Julieta Cervantes)

Times theater critic Charles McNulty knows a good show when he sees one — but also when he reads one. And this past week he helpfully compiled a list of eight works that he’s read for award consideration — or seen outside of L.A. — that he believes deserve local productions. I’m not going to spoil it for you by listing them here, so you’ll just have to read the story.

Are you a budding artist, or even a seasoned one looking to step up your game? Times contributor Sarah Fensom put together a handy list of seven L.A. figure drawing events and classes that feature unique concepts including high fashion and nude muscle men. Find your perfect match, here.

The Lucas Museum of Narrative Art in Los Angeles.

(Myung J. Chun / Los Angeles Times)

The Lucas Museum of Narrative Art is set to open on Sept. 22, but it announced some exciting news this week: It is giving free annual passes to its South L.A. neighbors in the 90037 ZIP code. The LM37 passes entitle holders to reserve tickets for themselves along with a guest. Tickets for non-pass holders go on sale July 21 and cost $25 for adults and $21 for seniors. Kids 17 and under are free.

On the heels of its 60th season, East West Players, the largest and longest-running Asian American theater in the country, announced its 2026-27 slate. “This season is the first chapter of East West Players’ next sixty years, a bold invitation to imagine what Asian American theater can become,” said artistic director Lily Tung Crystal in a statement. “By centering new voices, we’re not just honoring our legacy, but shaping the canon for generations to come.” The mainstage season will include the Southern California premiere of Jaclyn Backhaus’ comedy “Wives,” the Los Angeles premiere of the eponymously titled work “Kristina Wong, #Foodbankinfluencer” by the Pulitzer Prize finalist and East West Players’ New Works Festival. The group is also enticing theatergoers with new ticketing options: Pay-What-You-Will for every show and the Emerging Artist Membership, a free program for theatergoers ages 18 to 35, which guarantees $20 orchestra seats for them and a guest.

The Smithsonian Museum of American History on the National Mall in Washington.

(Pablo Martinez Monsivais / Associated Press)

A new White House report calls leadership of the Smithsonian Institution radical activists who “cannot be trusted to tell America’s story honestly and in a way that is inspiring, unifying, and worthy of our great republic.” The report specifically singles out the National Museum of American History, and culture watchers fear it’s paving the way for Trump to install his own team of leaders as he did at the Kennedy Center.

Speaking of the Kennedy Center, Trump appealed a court decision to remove his name from the building’s facade, but this week an appeals court denied his request.

— Jessica Gelt

And last but not least

We can all stop taking our kids to live-action remakes of Disney classics. Seriously. Times film critic Amy Nicholson breaks down why in this crushing review of the new live-action “Moana.”

Chunky platform sandals, fitted baby tees, butterfly clips on perfectly crimped hair, brightly patterned skirts and tons of sparkles. Pure Y2K-fueled nostalgia filled the Kia Forum on Wednesday night in celebration of all things Hilary Duff.

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Duff graced the stage at the Inglewood venue as part of her Lucky Me tour, her first global headlining tour in nearly two decades. And her fans couldn’t have been more thrilled. The pop singer and actor, who released her sixth studio album “Luck… or Something” in February, performed two back-to-back sold-out shows.

Before the final L.A. show, we caught up with fans to talk about their outfits (many of which were inspired by Duff’s most famous roles such as Sam in “A Cinderella Story” and the title role in “The Lizzie McGuire Movie”), the memories her music brings up for them and why her work still resonates with them. Here’s what they had to say.

(Kayla Bartkowski/Los Angeles Times)

Tristan Hallam, 36, of Chicago

Tell us about your outfit.

This is my wedding dress that I had stuffed in a suitcase. She’s been in a suitcase for 10 years, and I still fit into her, which is nice. People ask me why I keep stuff and this is exactly why: You might get divorced and use it as a costume. My outfit is inspired by “A Cinderella Story.” It’s my favorite Hilary Duff movie. She plays diner girl Cinderella. She disguises herself with a mask and a L.A. Dodgers cap. I did have a tiara, but I didn’t bring it because I didn’t want to be too much. So I figured, you know what, why not buy an apron and a little black crop top, and rep L.A.

I have a tattoo of her signature. It’s a little faded because it’s like 10 years old, maybe older than that now. It was at a book signing at Barnes and Noble at like the Grove or something. I asked her if she would initial my wrist, and I got it tattooed the same night. I literally drove to the tattoo shop on Hollywood Boulevard with my arm out the window because I’m so clumsy and I didn’t want to smudge it. Then the next time I saw her, she asked me, what did your parents say? I said, “My mom asked me how long I kept the Sharpie on so long.”

How long have you been a fan?

I think I was like 8 or 9 years old when I saw “Casper Meets Wendy” for the first time. My grandma took me to like a K-Mart or something, and told me that I could get any movie that I wanted. Then I was into “Lizzie McGuire,” but as soon as Hilary started doing all her like movies and independent work, obviously the music is great. I used to live in L.A., so I went to a bunch of her book signings. I’ve done a lot of meet and greets for her concerts, and right now I’m traveling around. I’m going to 18, technically 19 shows now, and I’m gonna see her in New Zealand, Australia and some other places. I’m actually really excited because one of my friends, I met her in a Hilary Duff fan club chat room in 2005 on MSN Messenger, and we are still friends, so we are going to a ton of shows together.

Why does her work still resonate with you today?

The fact that we’re around the same age, there’s been a lot of relationship similarities. I don’t have any kids, but the struggles with family, with your dad, with your siblings. She’s got some songs that are more mature and relatable for people our age. People who have gone through ups and downs in relationships, struggles with family and figuring out who your real family is, not just by blood but who your chosen family is. I think that’s really important.

(Kayla Bartkowski / Los Angeles Times)

Leilanie Martinez, 30, of South Gate

Tell us about your outfit and the inspiration behind it?

It’s my quinceañera dress. It’s supposedly very traditional to wear a white dress, like young women coming of age. For mine, I wanted to wear something that I didn’t see a lot of people wearing and I was very firm that if I didn’t find the love of my life, I was going to wear a white dress and this was my moment. My quinceañera was such a precious time. It really was a labor of love, and I think it’s one those memories I hold very near and dear. I think it’s an ode to her history, her legacy.

How long have you been a fan?

I remember I was 5 and I was running around in my neighborhood, playing with Barbies and watching “Lizzie McGuire.” I’m here today with my neighborhood and childhood friends. We used to watch it together and now we’re reliving our nostalgia and childhood.

Thinking back on when you first fell in love with her work, why does it still resonate with you today?

There’s a lot of power in her being a woman and she’s going through so many milestones that a lot of people my age are going through like having children and growing her career. Sometimes I think people “wash out” and I think it’s wonderful how she’s combating that narrative in so many ways, and that people are out here supporting her. I think there’s a lot of beauty in being able to be together as young women and relive some of these memories, but also cheer her on as she continues developing further.

(Kayla Bartkowski / Los Angeles Times)

Crystal Chesher, 33, of Mar Vista and Isabella Sanchez, 33, of Culver City

Tell us about your outfit.

Sanchez: We’re channeling “The Lizzie McGuire Movie.” My actual name is Isabella. She gives more Lizzie vibes and I give more Isabella vibes. It’s funny because I’ve literally saved [looks] of Isabella and Lizzie on my Pinterest board and I’ve always wanted to dress up like this. It’s not 100% of what I wanted, but it’s giving what it’s supposed to.

How long have you been a fan?

Chesher: Since I was little. I remember watching “Lizzie McGuire” since the age of 10 at the very least so I’ve been growing up with her movies and shows. She’s definitely my idol.

Sanchez: Same. Growing up, I was bullied so she was a very big part of me being more positive about myself. I can relate to her and she really helped me. It just feels full circle to be able to see her at 33 when I wanted to see her when I was like 10.

Thinking back on when you first fell in love with her work, why does it still resonate with you today?

Chesher: She has a heavy influence in the LGBT community as well especially with the [anti-gay speech campaign]. I loved that. With her movies and her music, it’s all relatable and it resonates with you, the lyrics, the storyline and even her new album that just came out.

Sanchez: She’s just that girl. I’ve never even met her, but I feel like she’s so genuine and real and she’s always stayed consistent with who she is. She’s not like your typical celebrity. She’s just awesome. I’m literally probably going to tear up seeing her on stage.

(Kayla Bartkowski / Los Angeles Times)

Lucca Petrucci, 33, of Santa Monica

Tell us about your outfit.

This is a last-minute choice. It’s very like ’70s or retro. I feel like I’ve seen her wear something like this. I’m wearing wide-legged pants, Doc Martens, platform, new haircut, facial. The inspiration for this fit was elegant pop star like confidence, grounded, a baddie. I’m a baddie who knows my worth and that’s what I wanted to embrace. I feel like she’s like doing that. She has a lyric that’s like ‘I look in the mirror, like I’m a bad b—.”

How long have you been a fan?

Since third grade. I thought she was my crush, but I think I just wanted to be her. So many of my core childhood memories are with her.

Why was tonight a non-negotiable for you?

I wanted to experience with my bestie and her sister. I feel like as a kid I didn’t allow myself to fully embrace it because it would be too girly, too much, too gay. So I feel like as a 33-year-old, I’m reclaiming that experience. I’m so excited just to hear everybody in the Forum sing “So Yesterday” and “Come Clean.” She has always been my number one pop star, to this day, and I’ve never seen her perform.

Why does her work still resonate with you today?

I feel like, especially when she was on “Lizzie McGuire,” she was figuring out who she was, but was open to being her authentic self. So I think that just like hit me when I was like in third and fourth grade, like figuring out myself. I felt so seen by her, and her music just brings back like such good feelings. Younger version of me, life wasn’t always great, but, I don’t know, she made things better.

(Kayla Bartkowski/Los Angeles Times)

Liv Guardado, 8, Priscilla Cruz, 38, Ava Guardado, 10 and Jezelle Velasco of Costa Mesa

Tell us about your outfit.

Cruz: We went thrifting for the first time for this. I’m plus-size, so thrifting is not easy in my size, so we did what we could. We got some overalls from Goodwill. And then we got some cowboy boots because we just wanted to be comfy.

Velasco: I probably stressed the most. I ordered so many pieces and it just kind of came together. I think the nails took the longest. One of my friends did my nails. It took some time but we got it done.

How long have you been a fan?

Velasco: Probably since I was their age. I never got to go to a concert, so this is my first time seeing her live.

Cruz: I definitely got inspired around middle school. I had a friend who was like Lizzie, and I was the best friend, Miranda. People would always say I was Miranda. I was a little older than [my girls], but I definitely have kept tabs on her life, and we love her.

Why does her work still resonate with you today?

Cruz: It definitely feels like memories and home when you think of her music from back then. And now she’s obviously stepped into a different phase of her life, and it matches where we’re at in our phase too so it’s nice.

Velasco: It just brings back the nostalgia from back when we were younger and now being parents, and being able to relate to her and her new music.

(Kayla Bartkowski/Los Angeles Times)

Paige Beard, 34, and Tayler Nelson, 27, of Bakersfield

Tell us about your outfits.

Beard: I was supposed to be wearing purple and she was going to wear green, and we were going to do the Isabella and Lizzie look at the end of “The Lizzie McGuire Movie.” It turned out more pink, but we ran with it.

Nelson: I was all about that performance, so I was like green. Gotta go green. We’ve been planning for a while, like two months.

How long have you been a fan?

Beard: I’ve been a fan for a long, long time, probably since “Casper Meets Wendy.” I was also a really big “Lizzie McGuire” fan, so I got into her acting as well as her music.

Nelson: Same. I was all about the Cinderella movie though, so it’s probably been 10 years for me.

Why does her work still resonate with you today?

Beard: I was telling my sister that I really liked “Lizzie McGuire” because it was one of the first times I saw somebody’s inner dialogue acted out in cartoon form. It showed me that I’m not too much. She’s a little bit older than me and I see her crying on stage and I’m like “OK, it’s OK.”

Nelson: “The Lizzie McGuire Movie” was a big turning point for me. I just loved how she expressed herself with what she wore and how she acted. I feel like I understood her in different ways. I enjoyed the dancing and the singing for sure. She felt free and I’m like, “Dang, I want that.”

(Kayla Bartkowski/Los Angeles Times)

Freddy Lopez, 38, and Raymond Lockwood, 36, of San Bernardino

Tell us about your outfits.

Lopez: Just a ’90s vibe. I guess a little old-school.

Lockwood: The outfits are a little last-minute because we were like we should’ve done diner girl [from “A Cinderella Story”] or one of her other movies, but we chose the little cartoon character from the show.

How long have you been a fan?

Lopez: I’ve been a fan since “Lizzie McGuire” and her movies.

Lockwood: For the past 20 something years. We grew up watching “Lizzie McGuire” and got introduced to Hilary Duff when she started singing.

Why was tonight a non-negotiable for you?

Lopez: We don’t know if she’s going to come back after this, so you’ve gotta take every opportunity. There’s other artists who cannot come back to perform right now. So when she said I’m coming back, we had to.

Lockwood: We’re healing our inner child. As a kid, we didn’t know she was having tours or we couldn’t afford to come out. Now, we’re like we don’t have to ask our mom and dad for anything.

Why does her work still resonate with you today?

Lockwood: For me, it’s being a teenager, watching the “Lizzie McGuire” show and watching the movie and then learning her songs. My favorite song is from the movie, “What Dreams Are Made Of.” It’s just us getting to live back in the past and kind of understanding it a little bit more. As a kid, our dreams are not what they realistically are today. I ended up becoming a nurse. As a kid, I didn’t sit on the couch like “Oh, I’m going to be a nurse,” but that’s what my dream ended up being.

(Kayla Bartkowski/Los Angeles Times)

Stephanie Rodriguez, 32, High Desert

Tell us about your outfit.

If you ask my fiancé, I was hunting for outfits and last-minute I was like, “I’m just gonna order something on Amazon.” When I saw this, I was like, “That’s it.” Total nostalgia with “13 Going on 30.” We went shoe shopping at the South Coast Plaza over the weekend. The metallic is pulling it all together and the butterfly clips.

How long have you been a fan?

Probably since I was like 8 or younger, pretty much very much obsessed. All of my holiday gifts were Hilary Duff. I had her K-Mart home products. Any magazines she was in, I got. Any outfits that I could try and replicate, I would. My first Hilary show was either Wango Tango or a Jingle Ball with KIIS-FM, so it was just a festival with a bunch of different artists but I went specifically for her.

Why does her work still resonate with you today?

I think a lot of us feel like we grew up with Hilary, so all of her music resonated with us then, and now, now that we’re older, through relationships or divorces or motherhood. It’s pretty cool to see just how we’re all kind of growing up together. The first time I think I found out about her was at the Glendale Galleria. I was recently telling my fiancé that my dad had me on his shoulders because she did a meet and greet and the entire mall was packed.

(Kayla Bartkowski/Los Angeles Times)

Kelsie Wagner, 35, of Temecula and Tyler Walsh, 35, of Long Beach

Tell us about your outfit.

Wagner: I’m channeling Lizzie McGuire. My favorite part is the butterfly clips.

Walsh: This is from Company D, which is a discount store for Disneyland. I was like let me get the biggest shirt and make it into a dress, but I’m wearing shorts — it’s still appropriate. I have like six authentic Disney pins here. This is about $200 on my hat. I was like I have to do something that represents. It’s a big hobby, pin trading, that I picked up in 2023. Then I wore my Lisa Franks. I figured I would channel everything from the ’90s and 2000s.

How long have you been a fan?

Wagner: Whenever the “Lizzie McGuire” show came out.

Walsh: I remember going to sleepovers with all of my friends and we would do Lizzie nights. I was on a soccer team and on Saturday nights, we’d go watch the newest episode. It was just so fun because I feel like I had a little clan that loved Lizzie. We went to her concert at the Grove together and it was back when you paid $50 to get in. We were front row and we like smelled her. It was wonderful.

Why does her work still resonate with you today?

Wagner: For me, especially her new album, she talks about marriage, relationships, motherhood, so it’s still relatable in that sense of that stage of life that we’re in.

Walsh: For me, it’s just nostalgia, because I’m not married, I have no kids, like I’m that fun aunt. And I will say, like, because she goes to Disneyland a lot, so I luckily got to meet her too. I asked her for a picture, and she’s like “Yeah, of course, honey.” It’s the most embarrassing photo of me ever though.

Wagner: I told her she should get it printed and wear it to the concert.

Walsh: I should have.

Andy Burnham, who is expected to become the next Prime Minister of the United Kingdom, took to social media to apologise for the Labour Party’s initial stance on Israeli attacks in Gaza. He’s now calling for accountability of the Netanyahu government.

For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward spoofing our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.

The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.

It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.

As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.

“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”

Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.

An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.

(Gabriela Campos / For The Times)

Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”

“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”

Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.

“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”

Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.

In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.

“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”

Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Philémon Martin, and Jun Ioneda.

Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.

Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.

“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”

CHEYENNE, Wyo. — She refused to ban books, many of them about racism and the experiences of LGBTQ+ people. And for that, Suzette Baker was fired as a library director in a rural county in central Texas.

“I’m kind of persona non grata around here,” said Baker, who had headed the Kingsland, Texas, library system until she refused to take down a prominent display of several books people had sought to ban over the years.

Now, Baker is fighting back. She and two other librarians who were similarly fired have filed workplace discrimination claims with the U.S. Equal Employment Opportunity Commission. And as culture war battles to keep certain books from children and teens put public and school libraries increasingly under pressure, their goal is redemption and, where possible, eventual reinstatement.

So far, it’s a wait-and-see whether the claims will succeed — and set new precedent — in the struggle between teachers and librarians around the country who oppose book bans and conservative activists who say some books are inappropriate for young minds.

The fight has involved a record number of book-banning efforts, some libraries cutting ties with the American Library Assn. — which opposes book bans — and even attempts to prosecute librarians for allowing children to access books some consider too graphic.

At least one terminated librarian has gained a measure of success.

Brooky Parks, who was fired for defending programs on anti-racism and LGBTQ+ stories she organized for teens at the Erie Community Library north of Denver, won a $250,000 settlement in September. Reached through the Colorado Civil Rights Division, the settlement requires her former employer to give librarians more say in decisions involving library programs.

Parks’ settlement with the High Plains Library District capped a stressful eight-month period without work, when community donations helped her avoid losing her home. And it will probably resolve Parks’ claim with the EEOC, said attorney Iris Halpern, who represents Parks and the other two librarians.

“I just wasn’t going to back down from it. It was just the right thing to do,” said Parks, now a librarian at the University of Denver.

After her firing in 2022, Baker filed an EEOC claim against her employer, the Llano County Library System in Kingsland. And in September 2023, Terri Lesley filed a claim over her firing last summer as executive director of the Campbell County Public Library System in Gillette, Wyo.

Halpern, with the Denver firm Rathod Mohamedbhai, compared the wrongful-termination claims to civil rights-era legal battles.

“It is honestly sad that we’ve gotten to this point. But history is a constant struggle, and we have to learn from our past,” she said.

The 1964 Civil Rights Act established the EEOC to enforce laws against workplace discrimination. One legal expert thinks the librarians might be able to prevail on the grounds that, under those laws, employees may not be discriminated against for associating with certain classes of people.

“With any case, the devil can be in the details in terms of how the facts come out and what they can present. But these are definitely actionable claims,” said Rutgers University law professor David Lopez, a former EEOC general counsel.

An EEOC investigation can take more than a year. After that, the EEOC may attempt to reach a settlement with the employer out of court, sue on the employee’s behalf or issue a letter saying the employee has grounds to sue on their own.

The librarians haven’t yet received an EEOC response and none is expected before the end of next year.

“I would love to be optimistic,” Baker said. “I know there are a lot of people in this community who are just absolutely behind the library being open and free and equal for all. And there’s a lot of people who aren’t. So it’s a hard, hard situation.”

EEOC spokesperson Victor Chen declined to comment on specific filings, saying, “We can’t even confirm or deny we have these complaints.”

The county attorney offices and other representatives of the government officials who fired Parks, Baker and Lesley did not return phone and email messages seeking comment, or declined to comment.

At her Texas library, Baker displayed several books that have been targeted in recent book bans and a sign that read: “We put the ‘lit’ in literature” — a reference to a Tennessee pastor’s recent burning of books.

Baker was fired after refusing to take down the display and signs — considered the last straw after she resisted book banning in her library.

In March, a federal judge ordered 17 books returned to Kingsland library shelves while a citizen lawsuit against book banning proceeded. The works ranged from children’s books to award-winning nonfiction, including “They Called Themselves the K.K.K: The Birth of an American Terrorist Group,” by Susan Campbell Bartoletti; and “It’s Perfectly Normal: Changing Bodies, Growing Up, Sex, and Sexual Health,” by Robie Harris.

“Content-based restrictions on speech are presumptively unconstitutional and subject to strict scrutiny,” Texas U.S. District Judge Robert Pitman wrote in his March 30 ruling. He cited a 2015 U.S. Supreme Court ruling that barred communities from banning signs because of what they say.

The Llano County Commissioners Court decided against closing the county’s three libraries in response to the ruling. Closing the libraries would have echoed the history across the U.S. of closing swimming pools rather than desegregating them, Halpern said.

Like Baker, Lesley had trouble finding work after being fired from the library system she directed in Gillette, Wyo. Her dismissal followed two years of turmoil over challenges to the books available and library programs.

Some of the same county officials who opposed a transgender magician’s plans to perform at the library went on to join local residents in seeking to ban books, according to Lesley’s EEOC filing.

Baker and Lesley both were fired after local officials appointed new library board members willing to be more aggressive about pulling books.

“Our county commissioners appointed board members who were sympathetic to the people who wanted to remove the books. And it was a long dance to try to get it there. And in the end they had to fire me, I think, in order to be able to meet their goal,” Lesley said.

The Campbell County Commission skirted a deputy county attorney’s recommendation not to appoint past applicants for the board without reinterviewing them along with new candidates, according to Lesley’s EEOC claim.

“I saw this as a well-executed attack on the library by a group of citizens and elected officials. It was an attack on the LGBTQ+ community as well,” she said. “And it was an attack on the books.”

Jennifer Siebel Newsom was frustrated.

She was standing behind her husband, California Gov. Gavin Newsom, at a February press conference to celebrate a new bill that would give Planned Parenthood emergency funds. A throng of women’s advocates, including herself, had spoken about how the law would help women access healthcare. But now reporters were asking a barrage of off-topic questions, from the California High Speed Rail to the 2028 Olympics.

She paced, she swayed, she laughed with displeasure. Finally, she stepped closer to her husband and gently nudged him aside. She found it “incredulous,” she said, that they had assembled all these allies only for the reporters to ask about other issues.

“This happens over and over and over and over again,” she said as Newsom smiled awkwardly. “You wonder why we have such a horrific war on women in this country and that these guys are getting away with it. Because you don’t seem to care. So I just offer that with love.”

All of a sudden, Siebel Newsom herself was the news. One of Sacramento’s top female journalists, Ashley Zavala, shot back on X that reporters were just doing their jobs and the way they were treated “was not normal.” Right-wing media blasted out headlines from “Gavin Newsom’s wife scolds reporters” to “Gavin Newsom’s wife slams reporters for ‘horrific war on women’ in extraordinary rant.”

The scene underscores Siebel Newsom’s predicament as her husband positions himself as Trump’s chief antagonist and prepares for a possible 2028 White House run.

Jennifer Siebel Newsom with California Surgeon General Diana Ramos.

(Gary Coronado / Los Angeles Times)

She came to Sacramento with a mission to speak up for women, calling herself “first partner” to signal she would carry on the theme of her work as a documentary filmmaker and nonprofit leader: dismantling gender norms. But as her husband raises his national profile with a podcast, a memoir and daily trolling of President Trump, she finds herself under mounting scrutiny.

In June, Newsom accused Trump of weaponizing the Department of Justice to launch a politically motivated attack on his spouse after federal agents knocked on the doors of the Newsoms’ friends and former employees, asking about Siebel Newsom’s taxes and nonprofit businesses.

“To get me, he’s coming after my wife,” Newsom said.

A federal source said the investigation began not with Trump, but after federal officials spoke to whistleblowers in Sacramento. Whatever the origin or merits of the probe, Siebel Newsom has long faced questions about her finances — specifically her nonprofits’ partial reliance on donations from companies that lobby the governor, a strategy that does not violate California law but raises concerns about the influence of large corporations in Sacramento.

Her decision to use the title “first partner” and her work “deconstructing” gender are also attracting criticism from the right in the post-#MeToo era as many Americans chafe against what they perceive as radical attempts to undermine traditional values and policing of what they say and do.

California Gov. Gavin Newsom looks on at his wife, Jennifer Siebel Newsom.

(Mario Tama / Getty Images)

To Siebel Newsom, the critiques of her work and the federal probe are part of a broader hounding of women who enter the public sphere. When federal agents targeted her associates, she was promoting “Miss Representation: Rise Up,” her new film examining the role technology plays in fueling what she describes as “the rising backlash against women’s progress.”

“We are seeing young women hold themselves back from wanting to pursue careers … not just political leadership, and it’s extremely disturbing,” Siebel Newsom told CNN in June. “It is a backlash, a backslide, and it is happening at an unprecedented scale, where ultimately we are silencing women’s voices.”

She disagreed with those who say scrutiny is the price of admission for being in public life. “Women and girls deserve to be protected,” she said. “Anyone aspiring to a public service career deserves to be safe. It should be fundamental.”

Untangling legitimate political criticism from deeply ingrained gender bias is not easy. Women in the public eye are frequently held to a different standard than men. But some political experts question whether a woman who refuses to stand on the sidelines — raising her voice on radioactive culture war issues and benefiting in part from her marital status to fund her nonprofits — can reasonably expect to be excluded from the rough and tumble of her husband’s political life.

Jessica Levinson, a Loyola Marymount University law professor and political commentator, said Siebel Newsom had been subjected to heightened public scrutiny for years. “That I think is likely fair,” she said, “in the sense that she has said that she’s very much a partner of the governor, and she has used this platform to advocate for causes that she cares about.”

Still, Levinson said, Siebel Newsom’s availing herself of the public forum did not mean she had violated the law.

“Does the fact that she has created and run nonprofits that receive behested contributions from Gov. Newsom put her and her actions in a different spotlight?” she said. “Absolutely, but that doesn’t mean that she’s doing anything nefarious. It just means that their life and their finances and their jobs are a little bit more complicated than other first families.”

Raised in an affluent suburb in Marin County, Siebel Newsom, 52, grew up in privilege. Her father was an investment manager and prominent GOP donor, her mother a co-founder of the Bay Area Discovery Museum.

After studying Latin American studies at Stanford and volunteering in Ecuador and Africa, she returned to Stanford to earn an MBA. Then she moved to L.A. to try to break into Hollywood. She got small parts in “Mad Men” and “Rent,” but has said she “was typecast as a trophy wife and kind of put into this box.”

That sparked her interest in getting behind the camera.

Around the time she married Newsom in 2008 and got pregnant with her first child, she began work on “Miss Representation,” her debut 2011 film that examines how mainstream culture limits female potential and power by focusing on youth, beauty and sexuality.

When Newsom was elected governor, she announced she would eschew the traditional title of “first lady.”

The “first partner” title, she has said, is not just gender inclusive and gender expansive. “It disrupts some of the male-coded language we associate with leadership, versus a ‘lady’ who sits on the sidelines.”

Jennifer Siebel Newsom.

(Christina House / Los Angeles Times)

Over the last 15 years, Siebel Newsom has worked on a series of documentaries and founded nonprofits focused on gender equity, the Representation Project and California Partners Project.

“She walks the walk,” said Amy Ziering, a documentary filmmaker whose films Siebel Newsom helped produce. She did not take the role lightly, Ziering said, noting she watched cuts and took notes, made introductions and brought people to screenings. The fact that Siebel Newsom kept pressing women’s issues as her husband became governor, Ziering said, reflected her integrity.

“She’s not diminishing her beliefs, her values, her principles or any other kind of long-term goals” Ziering said. “She shows up, ‘This is what I believe,’ and maybe it’s not politically efficacious to believe this right now, or to say ‘I believe it’ … but she does.”

In 2022, Siebel Newsom took on another public role, testifying in Harvey Weinstein’s sexual assault trial.

“She did not have to do that, she could have been Jane Doe,” Ziering said. “That’s about showing up for other women and for all sexual assault survivors.”

Cristina Garcia, a former assemblywoman who represented southeast L.A. and worked with Siebel Newsom on women’s legislation, said she thought Siebel Newsom would be a target no matter what.

“But I think she sees the power that she has, and it’s like, why should she just sit in the background?” Garcia said. “Why shouldn’t she use her power to uplift women and children … these things she’s been really passionate about?”

In Sacramento and across liberal California, Siebel Newsom’s ideas on women and gender are relatively mainstream.

But as the 2028 election looms, conservatives have dredged up old clips, highlighting Siebel Newsom’s comments about parenting and deconstructing gender roles to portray her as “radical” and “woke.”

In one video, Siebel Newsom said that when she reads to her children she changes the protagonist’s gender from “he” to “she” to show women matter and can center a story.

In another, she raised concerns about boys being exposed to “alt-right socialization online that we know is very, very dangerous.” She and her husband, she noted, were alarmed to find their son had encountered misogynist influencer Andrew Tate while watching sports online.

Some conservatives have noted, with glee, that Siebel Newsom could be a liability for her husband as he seeks national office.

“Jennifer Siebel Newsom is the very avatar of Democrat Woman,” a New York Post columnist wrote. “Haughty, hectoring and pleased with herself, she is single-handedly wrecking her hen-pecked husband Gavin’s lofty political ambitions.”

But former state Sen. Hannah-Beth Jackson (D-Oxnard) pushed back on the idea that Siebel Newsom was some kind of strident activist or woke scold. After working with Siebel Newsom on equal pay and bringing more women onto corporate boards, she said Siebel Newsom was adept at working with corporations to find common ground and recognize what businesses need to be successful.

The scrutiny of Siebel Newsom comes as her husband tries to stake out a more centrist stance on some issues.

Last year, Newsom inspired the ire of some Democrats by launching a podcast in which he chatted with right-wing figures, such as Turning Point USA founder Charlie Kirk and Trump’s former chief strategist Steve Bannon. On its debut episode, Newsom distanced himself from his party’s left flank, calling the dismantling of police departments “lunacy.” Allowing transgender athletes to participate in women’s sports, he said, was “deeply unfair.”

Asked why, Newsom told The Times his party had become out of touch with ordinary Americans. “They think we’re elite,” he said. “We talk down to people. We talk past people. They think we just think we’re smarter than other people, that we’re so judgmental and full of ourselves.”

On this point, it’s not clear whether the Newsoms are in sync.

For all her talk of women as allies, Siebel Newsom portrays conservative women who criticize other women as dupes manipulated by MAGA leaders.

“What’s interesting is that the far right really is using women to go after other women,” she said in June on the “Hysteria” podcast. “So I find it very intentional on their part that they have essentially sent the women out to humiliate, demean, ridicule, mock, silence another women. But that’s just the patriarchy, right? … And that’s what we have to fight.”

Still, she has voiced doubt about whether she would continue to go by “first partner” if her husband were elected president.

Asked in 2023, Siebel Newsom said she didn’t know if Americans were ready for a “first partner.”

“Sadly,” she said, “I don’t know if they are.”

But even as conservatives mock Siebel Newsom’s patrician “girl power” message and activist jargon, she shows few signs of backing down.

As she has taken “Miss Representation: Rise Up” to film festivals in New York and Washington, D.C., she has upped her call for more Big Tech regulation.

An advisor from the first partner’s office said Siebel Newsom had been an advocate for women and girls before she met Newsom. That was unlikely to change, they said, as she faced growing right-wing scrutiny or a federal investigation.

“There’s no strategy change here,” they said.

A WIZZ AIR pilot-in-training has revealed all about what it is like to work for the airline including the flying tips and tricks you need to know.

Having joined Wizz Air back in 2024 as cabin crew, Sebastien Harrison is now training to be a pilot through Wizz Air’s Cabin Crew to Captain programme.

And from spending years in the air, he has loads of tips for travellers.

When it comes to flying itself, the 20-year-old had many tips including where the best place to sit on Wizz Air planes.

He said: “The best seats in the plane for turbulence are on or about row 15; this is because if the plane is pitching up or dowduringne turbulence in the middle of the plane there is least movement.”

And for nervous fliers, Sebastien says: “If you are a first-time or nervous flyer, let the crew know as soon as you board.

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“They are excellent at providing reassurance and will check in on you throughout the flight.”

And when it comes to managing tiredness when you reach your destination, Sebastien recommends not napping before your bedtime so you get solid sleep and avoid “pushing back the tiredness”.

He added: “Go to the gym at maybe 5pm because it’s going to make you tired and then you can go to sleep a bit earlier.”

And of course, there are a number of destinations Seb is excited to see and recommends visiting.

He revealed: “I’m very excited for the Greek destinations like Santorini, because obviously it’s an island with very beautiful weather and beautiful scenery.”

And if you want to head to a really unique destination then Seb recommends Tromso in Northern Norway.

He shared: “It’s in the Arctic Circle and it’s very beautiful, set in a valley surrounded by mountains.

“It is some of the best scenery I’ve seen in the world.

“You can see the Northern Lights, head skiing, spot whales and see reindeer – it’s just a very interesting place with loads to do.”

He added that the destination is also super unique because in the summer you get midnight sun, and in the winter you get polar night, where the sun remains below the horizon between late November and mid-January.

For a more beachy destination, Sebastien suggests heading to Catania in Sicily – which is Italy‘s sunniest destination.

He said: “There’s a volcano which you can see from the airport and the beaches are really cool.”

Having grown up only 10 minutes from Glasgow Airport in Scotland, Seb knew he wanted to one day become a pilot.

He said: “As a child I was always excited to literally leave the earth – you’re defying gravity.

“I think being able to literally fly planes is very rewarding.”

Then in 2024, his dream of working on planes came true as he got a job as Wizz Air cabin crew.

He said: “Being cabin crew has been a very useful experience.”

“Obviously I went into cabin crew knowing that I wanted to become a pilot and I just thought as cabin crew I would have the opportunity to speak to pilots a lot and really gain a lot of insight about the job.

“I knew that if I was cabin crew, I’d kind of see the job firsthand – it’s a very sociable job being cabin crew too.

“When I’m a pilot, it’s probably going to make me a better pilot as well because I’m going to understand what the cabin crew do as well, but some pilots they don’t 100 per cent appreciate it.”

“At the moment we’re only doing classroom theory training and we’re in the classroom for about four hours a day on average.

“There’s quite a lot of testing maybe about two or three tests a week just to make sure that you’re progressing – there’s 13 theory exams that you have to pass in total across around two years.”