More than a century after the Gilded Age, we have entered another: The gilded age of Trump.
A little over a year after President Trump was sworn into office for the second time, the country has borne witness to a striking aesthetic makeover of the White House and Washington, D.C. A week ago, when the Trump-packed Commission of Fine Arts approved a 24-karat commemorative coin stamped with Trump’s image, that makeover ascended to staggering new heights.
The coin, which breaks with the country’s longstanding tradition of not featuring a living person on its currency, joins a swiftly growing list of other Trumpian imprints on arts and culture, including architectural choices deemed gaudy and garish by experts and laypeople alike.
Plenty of people are on guard against these changes. This week a coalition of eight cultural heritage and architectural organizations, including the National Trust for Historic Preservation and the American Institute of Architects, filed a lawsuit to require the Trump administration to comply with historic preservation laws and get congressional authorization before making any changes to the Kennedy Center.
“The Kennedy Center is not a personal project of any president. It is a national cultural monument built to honor John F. Kennedy and to serve the American people. Federal law requires transparency, expert review, and public participation before it can be fundamentally altered,” Rebecca Miller, executive director of the DC Preservation League, said in a statement.
The same could be said of the White House, the Smithsonian, the NPS and the United States Mint. But Trump doesn’t care about due process, congressional approval or the courts. Time and again he has shown his willingness to go it alone when making big decisions that affect not only America but the world. This includes his actions in Venezuela and Iran. But if he decides he wants to take the Kennedy Center “down to the steel,” as he once threatened, there isn’t really anything that can stop him.
The gilded age of Trump proves that the look of things really does affect how the country sees itself — and how it acts as a result of its new self-image. Golden gaudiness conjures thoughts of empire and imperial rule, but it is also unserious and incidental, bombastic and self-centered. The Trump aesthetic screams, “Me, me, mine!” A willingness to tear down historic structures without care for their symbolic meaning reveals an inability to learn from the past, a tendency that has proved frighteningly perilous.
Will the leader who rises after Trump tear down all that Trump has built? And even if they do, can the damage really be undone?
I’m Arts editor Jessica Gelt, keeping it small and simple for posterity. Here’s your arts and culture news for the week.
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FRIDAY
Laura Aguilar The late trailblazing photographer’s exploration of her queer Chicana identity against the natural backdrops of Southern California and the Southwest is on display in the exhibition “Body and Landscape.” More of the artist’s work will be on display starting Sept. 20 in “Laura Aguilar: Day of the Dead.” Through Sept. 7. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Cassandra Kulukundis holds the first-ever Oscar for casting for her work on “One Battle After Another” during the Academy Awards, March 15, 2026.
(Robert Gauthier/Los Angeles Times)
The Art of Casting With Cassandra Kulukundis recently winning the first Oscar in the category for her work on Paul Thomas Anderson’s “One Battle After Another,” what better time to learn more about the subject? The academy’s video presentation goes inside the casting process with casting directors discussing their craft and includes previously unseen auditions and screen tests. Through July 6. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Brahms & Beethoven Uzbek pianist Behzod Abduraimov performs Beethoven’s “Piano Concerto No. 3” as Paavo Järvi conducts the L.A. Phil in Brahms’ “Second Symphony” and Schumann’s “Overture, Scherzo and Finale.” 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
A performance of “Escape.”
(Traj George Simian)
Escape Diavolo reprises this production featuring its trademark blend of dance, movement and storytelling as 22 artists challenge their abilities against a variety of architectural structures. 8 p.m. Fridays and Saturdays; 6 p.m. Sundays, through June 14. L’Espace Diavolo, 616 Moulton Ave. diavolo.org
Arshile Gorky: Horizon West In the summer of 1941, the Armenian immigrant artist, his soon-to-be wife Agnes “Mougouch” Magruder and the artist and furniture designer Isamu Noguchi drove from New York City to L.A. Gorky was emerging as one of the most important figures in the nascent Abstract Expressionism movement, and his cross-country adventures had an enormous impact on his art, which is explored in depth in this exhibit. A selection of landscapes include Gorky’s rich, surrealistic paintings and drawings from before, during and after the life-changing trip. (Jessica Gelt) Through April 25. Hauser & Wirth West Hollywood, 8980 Santa Monica Blvd. hauserwirth.com
A New Song: Langston Hughes in the West The exhibition reveals Hughes’ time spent in California, Nevada and Mexico during the Great Depression, World War II and into the 1950s, when he produced significant work, including lectures, film scripts, plays and his first book of short stories. Through Sept. 13. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
The White Album Arthur Jafa’s 2018 30-minute experimental film, a social critique of whiteness, uses found and produced footage to demonstrate how the creative work of Black Americans has been co-opted by white culture throughout history. Through Aug 30. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu
SATURDAY
Akira Kurosawa’s “Seven Samurai,”starring Takashi Shimura, from left, Toshiro Mifune and Yoshio Inaba.
(Janus Films)
Darkness and Humanity: The Complete Akira Kurosawa The 1954 classic “Seven Samurai,” starring Toshiro Mifune, kicks off this comprehensive retrospective of the great Japanese filmmaker’s work. 6 p.m. Saturday; series continues through May 30. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
from rock to rock… aka how magnolia was taken for granite Choreographer Jeremy Nedd’s exploration of the hidden poetry, virtuosic freedom and ownership features five performers examining “the Milly Rock,” a viral dance move. 8 p.m. UCLA Macgowan Hall, Freud Playhouse, 245 Charles E. Young Drive East. cap.ucla.edu
A Queer Arcana: Art, Magic, and Spirit On The exhibition collects an intergenerational group of Queer artists whose work examines hidden and mystical knowledge to find sources of connection and transformation. Through Oct. 18. Palm Springs Art Museum, 101 Museum Drivepsmuseum.org
Ralph Steadman More than 140 original artworks and ephemera, including sketchbooks, handwritten notes and personal photographs are included in “And Another Thing,” a traveling exhibition tracing six decades of the artist and illustrator’s career. Through May 9 Torrance Art Museum, 3320 Civic Center Drivetorranceartmuseum.com
Tonality The vocal ensemble performs “Refuge/Requiem,” a program that includes Caroline Shaw’s 17th-century-influenced contemporary work “To the Hands,” and “1605 Requiem,” composed for the funeral rites of Empress María by Tomás Luis de Victoria. Presented with the Wallis. 7:30 p.m. All Saints’ Beverly Hills, 504 N. Camden Drivethewallis.org
SUNDAY To Sleep With Anger Written and directed by the protean Charles Burnett, this film does more than vividly illuminate South-Central’s rarely portrayed Black middle class. A deft domestic horror story, it’s a contemporary tale with a folkloric twist that has old friend Harry (Danny Glover) visiting a married couple and gradually revealing himself to be a trickster with trouble on his mind. With a terrific ensemble headed by Mary Alice and Paul Butler as the couple in question. (Kenneth Turan) 7 p.m. The 35mm screening includes a Q&A with the filmmaker and Ashley Clark, author of “The World of Black Film: A Journey Through Cinematic Blackness in 100 Films.” Beginning at 6 p.m. Clark will sign copies of the book. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
TUESDAY Philip Glass’ Cocteau Trilogy Pianists and siblings Katia and Marielle Labèque perform the composer’s triptych inspired by the films of Jean Cocteau. Part of the LA Phil’s “Body and Sound” festival. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Mary Halvorson The contemporary jazz musician, guitarist and composer and new quartet project Canis Major — featuring Dave Adewumi on trumpet, Henry Fraser on bass and Tomas Fujiwara on drums — perform an evening of music designed for deep listening and total immersion. 7 p.m. Getty Center, Harold M. Williams Auditorium, 1200 Getty Center Drive, L.A. getty.edu
Arts anywhere
New releases of arts-related media.
Album cover for “Evening Light: Raga Cycle I.”
(Cantaloupe Music)
Evening Light: Raga Cycle I The first release of an eight-album series in which American composer and pianist Michael Harrison collaborates with a global assortment of artists combining Eastern and Western musical traditions. Each chapter represents three hours of day or night following the Indian raga time cycle. For “Evening Light,” Quebec-based Brazilian vocalist Ina Filip co-composed the music with Harrison. Also appearing on the album are American composer Elliot Cole on synthesizer, French composer Benoit Rolland on electro-acoustics and Bangladeshi tabla virtuoso Mir Naqibul Islam. Cantaloupe Music: download ($10).
Book jacket for “Stephen Sondheim: Art Isn’t Easy” by Daniel Okrent.
(Yale University Press)
Stephen Sondheim: Art Isn’t Easy Part of Yale University Press’ Jewish Lives series, Daniel Okrent’s new biography of the award-winning composer-lyricist who took Broadway musicals to new heights “is a brisk, engaging read that avoids hagiography,” writes Julia M. Klein in a review for The Times. “Okrent highlights the emotional frailties that coexisted with the brilliance and generosity. He seeks to liberate Sondheim’s reputation from the encrustation of myth and to demystify his relationships, while offering a succinct analysis of his achievements. That’s a tall order for a compact book, especially given its subject’s long, complicated life. Okrent’s failings are, unsurprisingly, primarily those of omission.” Yale University Press: 320 pages, $35
Martha Graham Dance Company: We Are Our Times A two-part documentary goes behind the scenes with the troupe as it prepares for its 100th anniversary celebration. Producer-directors Peter Schnall and Cyndee Readdean followed the dancers from rehearsal to premiere on a global tour, capturing their artistic routines and everyday lives. Episode 1, “American Spirit,” 9 p.m. Friday; Episode 2, ““Athletes of God,” 9 p.m. April 3 on PBS. Streaming at pbs.org and on the PBS app.
Culture news and the SoCal scene
Pritzker Prize-winning architect Frank Gehry is photographed in May 2019 with a model of the Grand Avenue Project at his L.A. offices.
(Jay L. Clendenin / Los Angeles Times)
Can downtown L.A. still benefit from the vision of late-great architect Frank Gehry, who put so much time and energy into lifting the area up? Times classical music critic Mark Swed says yes in an optimistic column noting that, “So many plans Frank Gehry imagined for L.A. still remain. Gehry bequeathed blueprints and models, sketches and concepts, for his large and devoted team of younger architects and next-generation visionaries equipped to fabricate our way out of angst.” The time to build, Swed writes, is now.
Freelance writer Jane Horowitz got the skinny on the fifth edition of High Desert Art Fair, which arrives in Pioneertown this weekend, transforming “the rooms of the historic Pioneertown Motel into exhibition spaces for 20 galleries and publishers, while expanding into a broader mix of programming — something akin to a mini Coachella Valley Music & Arts Festival. This year’s edition includes an opening night party with a DJ set by street artist Shepard Fairey, panel discussions, guided meditation and even a sound bath.”
Monty Python” alum Eric Idle poses for a portrait at the Hollywood Pantages.
(Jason Armond / Los Angeles Times)
Malia Mendez sat down with British comedy legend Eric Idle to talk about his spoof musical “Spamalot,” which arrives at the Pantages more than a decade after its last stop at the stage. Over a margarita with a side of chef olives, Idle opened up to Mendez about “his earliest forays into comedy, his legendary run and subsequent break with his former ‘Monty Python’ castmates, and why ‘Spamalot’ arrives in L.A. at the perfect time.”
Times theater critic Charles McNulty headed to the Matrix Theatre to watch Rogue Machine’s production of Jackie Sibblies Drury’s Pulitzer Prize-winning 2018 drama “Fairview.” He writes that the play is “a shape-shifting work that eludes an audience’s assumptions at every turn,” and concludes that the new production “may struggle with the slipperiness of Drury’s writing.” The dramatic construction, however, is solid enough to withstand some of the overly broad strokes of the staging.”
Richard Neutra imagined his first Los Angeles project, the Jardinette Apartments, as a prototype for future garden apartment buildings.
(Myung J. Chun / Los Angeles Times)
Sam Lubell wrote a fascinating story about the painstaking rehabilitation of Modernist architect Richard Neutra’s first L.A. commission: the Jardinette Apartments in Hollywood. The building was hailed a structural and technical breakthrough when it opened in 1928, but it soon dropped from public view and sank into disrepair. The new owner spent more than $5 million on the historic preservation project and the complex may soon go on the market.
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The Hammer Museum Gala on Oct. 8, 2022, in Los Angeles.
(Michelle Groskopf / For The Times)
The Hammer Museum has announced the honorees for its annual gala. They are artist Betye Saar and television creator Darren Star. The highly anticipated event, set to take place in the Hammer’s garden courtyard on May 2, aims to honor impactful artists while raising funds to support the museum’s exhibitions and public programs.
The 80th Ojai Music Festival, set to take place June 11-14, recently announced this season’s programming and artistic collaborators. Much of this year’s event will be devoted to unpacking and performing works that have been central to the 2026 festival’s music director‘s artistic life. “Esa-Pekka Salonen is one of the most vibrant and adventurous creative forces in our musical world,” said Executive Director Ara Guzelimian in a statement. “It has been an absolute joy to dream up programs together that focus on numerous personal dimensions — his work as composer and conductor, his rich associations with and remarkable history in Los Angeles, the formative influence of his teachers and the giant musical figures of 20th century music, his deep friendships with many peer composers, and his championing of a new generation of composers.”
Washington National Opera Artistic Director Francesca Zambello, who was instrumental in the company’s decision to leave the Kennedy Center after Trump’s takeover, was inducted into the Opera Hall of Fame at the OPERA America Salutes Awards Dinner on March 20, at the Plaza Hotel in New York City.
WASHINGTON — The Supreme Court made it harder for music and movie makers to sue for online piracy, ruling Wednesday that internet providers are usually not liable for copyright infringement even if they know their users are downloading copyrighted works.
In a 9-0 decision, the justices threw out Sony’s lawsuit and a $1-billion verdict against Cox Cable for copyright infringement.
Lower courts upheld a jury’s verdict against Cox’s internet service for contributing to music piracy, which the company did little to stop.
Sony’s lawyers pointed to hundreds of thousands of instances of Cox customers sharing copyrighted works. Put on notice, Cox did little stop it, they said.
But the high court said that is not enough to establish liability for copyright infringement.
“Under our precedents, a company is not liable as a copyright infringer for merely providing a service to the general public with knowledge that it will be used by some to infringe copyrights,” Justice Clarence Thomas wrote for the court.
Two decades ago, the court sided with the music and motion picture producers and ruled against Grokster and Napster on the grounds their software was intended to share copyrighted music and movies.
But on Wednesday, the court said “contributory” copyright infringement did not extend to internet service providers based on the actions of some of their users
“Cox provided Internet service to its subscribers, but it did not intend for that service to be used to commit copyright infringement,” Thomas said. “Cox neither induced its users’ infringement nor provided a service tailored to infringement.”
In its defense, Cox argued that internet service providers could be bankrupted by huge lawsuits for copyright infringement, which they said they did not cause and could not prevent.
LONDON — Years before the rise of Instagram, Banksy figured out that the key to real influence lay in not being famous, exactly, but in being anonymous.
The mystery of his identity has long been part of the value of his art, which for decades and across continents defied authority from public walls and self-shredded on the auction block. Now, Banksy’s apparent unmasking by the Reuters news agency has generated talk about whether the works themselves retain their cultural and financial value.
It also raises the question: Why pop the balloon of his mystique in the first place? Many Banksy fans mourned the loss of the mystery and lashed out at the news outlet. One said it was like being told without warning that Santa Claus doesn’t exist.
“I feel like they are telling me how a magic trick is done,” said Thomas Evans, a Denver-based artist on Instagram. “Sometimes I just want to enjoy the magic trick.”
But some art experts say the murals and the message will survive Banksy’s naming because his appeal wasn’t driven solely by his anonymity. He and his works — dark and mischievous — stand as witnesses to injustice, oppression and inequality around the world, from the artist’s native England to walled-off Bethlehem in the occupied West Bank and war-ravaged Ukraine. Subtract his anonymity, they say, and the work still inspires reflection and discussion.
“People buy his works because they absolutely love it,” said Acoris Andipa, director of the Andipa gallery in London. “The main feedback that I get is that they really, frankly, don’t care if they know who he is.”
Naming the ghost — and the backlash — is engagement, too
Banksy, long thought to have been born Robin Gunningham around 1972, grew out of a tradition of street artists who viewed the undercover act of posting their art in public as a subversive form of expression. The postindustrial landscape of his native Bristol was his canvas and gallery. The walls of London, New York and elsewhere gave him a global stage just before the rise of social media.
Banksy’s apparent identity has been an open secret among protective fellow artists, and long been easy to find online for those who wanted to know. The Daily Mail reported in 2008 “compelling evidence suggesting” that was the artist’s birth name. It has been published by other news outlets, including the Associated Press in 2016, as part of their coverage of the detective work.
Reuters reported recently that after the Daily Mail’s story, Banksy changed his legal name to David Jones — the second most-popular name in Britain. It’s also the given name of the late David Bowie, whose Ziggy Stardust rock ‘n’ roll avatar inspired a 2012 Banksy painting of Queen Elizabeth II.
Bansky’s lawyer didn’t respond to a request for comment, and the artist’s spokeswoman declined to participate in this story.
Reuters pieced together that a David Jones traveled to Ukraine with a well-known associate of Banksy’s in late 2022 — just before the artist’s work began appearing on buildings that had been bombed by Russia. Banksy later confirmed that he’d created seven murals in the war zone, including one of a child flipping over a grown man who is wearing a black belt. Russian President Vladimir Putin practices judo.
There’s evidence that even some in the establishment he was protesting have accepted Banksy. They didn’t arrest him, for example, after the Royal Courts of Justice removed a Banksy stencil depicting a judge in a traditional wig and gown beating an unarmed protester with a gavel. Some street artists groused that they might be arrested for creating such graffiti — but when it’s a Banksy, it’s art.
The artist wasn’t always so elusive
On Sept. 17, 2000, a Robin Gunningham was arrested for defacing a Marc Jacobs billboard atop a building on Hudson Street in New York.
In a handwritten signed confession, he described the work on the night in question: “I had been out drinking at a nightclub with friends when I decided to make a humorous adjustment to a billboard on top of the property,” he wrote in court records unearthed by Reuters and confirmed by the AP. “I painted eyeshadow a new mouth and a speach bubble” on the photo of a male model. He was charged with a misdemeanor.
The artist doesn’t need an alleged naming to make news. He created multiple works in London in 2025, and grabbed headlines elsewhere for having his art sold or auctioned for millions. But Banksy has courted a public image centered around morality, justice and guerrilla tactics — he’s often likened to Robin Hood or Batman.
“Banksy woz ere,” he wrote with his animal murals at the London Zoo, which were removed in 2024.
Still, along with the sadness, there’s ample speculation in the art world and on social media that the artist himself orchestrated this round of naming. He didn’t deny the Reuters story.
That “would be very much in line with his practice of stunts and satire,” observed Madeleine White, the senior sales and acquisitions consultant at London’s Hang-Up Gallery. “As they say, ‘All publicity is good publicity.’”
She noted, however, that the backlash is directed at the media — not the artist, or the potency of his work. Reuters says it opted to publish some, but not all, of the information its reporters uncovered about Banksy’s identity, because he is a public figure, whatever his name — and he’s had an outsize influence on public events and discourse. What’s more, much of his work has been done on other people’s property.
Connected to world events
Named or not, Banksy’s stardom lives, art experts say.
It endures in the wonder of his ability to erect new art under the noses of authorities well into the age of social media and ubiquitous surveillance cameras. It appeals because his spectacle and wit draw people in and the settings — the hulk of bombed buildings, for example, or Israel’s towering wall at the border of the West Bank — invite them to reflect. Now, fans are on the lookout for how and whether he’ll respond to the news of Robin Gunningham and David Jones.
Joe Syer, a Banksy expert and founder of MyArtBroker, said that the artist has always responded to world events. “And that’s where the real relevance, and value, sits,” he said.
“If anything, Banksy’s anonymity has functioned less as a celebrity device and more as a way to keep the work universally accessible, detached from personality, ego, or biography,” Syer said in an email. “It allows the work to sit in public space, politically and culturally, without being anchored to an individual in the way the mainstream press often frames it.”
Christopher Banks, founder of the New York-based Objects of Affection Collection, reads Banksy’s naming “not as a biographical event, but as a structural stress test” of the artist’s system of managing his absence.
“Banksy’s best works carry their meaning without the author. He was there,” Banks wrote, citing the artist’s murals in Ukraine and his solidarity with the war’s victims.
“The name matters less than the presence. The presence was always what the work was about.”
Kellman writes for the Associated Press. AP writer Michael Sisak in New York contributed to this report.
Keeping and maintaining friends as an adult is hard, especiallywith the demands of life, travel and work. In volunteering, I encounter more people like myself, which is nice, but sometimes it’s difficult to participate without a lot of commitment to the organizations. I’m wanting to explore smaller, intimate groups to build community with people who I share similar values with. I’m interested in self-growth, psychology, games, mindfulness and yoga. I loved the L.A. Times story “Awaken your inner child at this welcoming collage club for adults” and I would love to know about similar activities. Thanks! —Marlen I.
Looking for things to do in L.A.? Ask us your questions and our expert guides will share highly specific recommendations.
Here’s what we suggest:
Marlen, I couldn’t agree more. As we get older, it can feel more and more difficult to sustain friendships, especially in Los Angeles, where people live so far apart and have busy lives. This struggle is exactly why so many social clubs have been sprouting up in L.A. over the last few years. From board game clubs to junk journaling meetups, there’s so many different ways to connect and maybe try something new. I’ve compiled a list of social clubs and community spaces that I think you’ll enjoy.
Since you’re already familiar with Art+Mind Studios, you should definitely check out Junk Journal Club. Junk journaling is essentially a craft practice that combines elements of collaging, journaling and scrapbooking. With the rise of junk journaling content on social media, the once solo pastime has turned into a lively social scene. Junk Journal Club, dubbed “the original junk journal club,” hosts monthly meetups, which can be found on its Instagram page. When my colleague Malia Mendez went to an event recently, people told her that attending Junk Journal Club “has made befriending strangers easy,” and many of them stay in touch.
Another craft-centered event that’s worth exploring is the Crafters Clubhouse, which founder Victoria Ansah calls “a creative third space for adult makers.” She hosts monthly arts and crafts workshops including activities like scrapbooking, punch needle embroidery and clay art.
Given that you’re interested in yoga and mindfulness, you may like WalkGood LA, a community-centered wellness organization that hosts a variety of activities including a run club and accessible yoga classes. During the pandemic, I found solace in attending their weekly yoga classes called BreatheGood. The outdoor sessions take place every first Sunday at Kenneth Hahn State Recreation Area and feature free chiropractic adjustments and healthy food vendors. The vibe of the intergenerational event feels warm and welcoming. All you have to do is show up with your yoga mat. The organization also hosts various classes including yoga, breath work, mindful meditation, mat Pilates and step aerobics at their studio, the WalkGood Yard, in Arlington Heights.
Another social club I recommend is Love, Peace & Spades, which my friend Kevin Clark started in 2022, to create a space where people could play the card game with others. With music provided by a live DJ, the monthly game night feels like being at a family cookout. Spades can be extremely intimidating to start as a beginner playing with pros. But don’t worry. Love, Peace & Spades has instructors who can teach you how to play.
If you’re interested in chess, L.A. Chess Club is “an event with the laid-back ease of a chill game night and all the social and romantic possibility of a night out on the town,” according to Times contributor Martine Thompson, who wrote a story about the event. At the weekly gathering, which features a food vendor, cocktails, tattoo artists and DJs, you can “competitively play chess, learn the game, meet new friends or mingle as a single person,” Thompson shares. Another fun event is RummiKlub, a monthly Rummikub game night that takes place in elevated, design-forward spaces across the city.
L.A. also has several fun creative venues that regularly bring people together, such as Junior High, a nonprofit art gallery and inclusive gathering space that hosts artist showcases, comedy nights, pottery workshops and more. There’s also Nina in Atwater, which holds a variety of gatherings including a monthly series that focuses on mindfulness called “Be Here Now: Simple Tools for an Everyday Nervous System Reset.”
I hope that these suggestions are a good starting point for finding the group, or several groups, that are an ideal fit for you. Just by putting yourself out there and being open, you are bound to build and find community. Best of luck on your journey!
By Neal Allen and Anne Lamott Avery: 208 pages, $27
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
They’re so darn cute together, these two. Neal Allen, father of four, newspaper reporter turned corporate executive turned spiritual coach turned author of two spiritual guidebooks, stands a full head of hair taller than his dread-headed wife, who calls him her “current husband.” He calls her his “remarkable and beautiful partner” and himself “Mr. Anne Lamott.”
And no wonder. Author Anne Lamott has published 21 books, with worldwide sales in the millions. “Bird by Bird,” her 1994 writing handbook, which has sold more than 1 million copies and continues to sell approximately 40,000 copies each year, became a meme before there were memes. Thirty-two years later, the titular phrase has made appearances everywhere from “Ted Lasso” (Coach Beard: “I hate losing.” Coach Lasso: “Bird by bird, Coach.”) to a Gloria Steinem interview in Cosmopolitan (“Every writer, truth-seeker, parent, and activist I know is in love with one or more books by Anne Lamott”).
Ask a famous writer how they do what they do, and “Bird by Bird” will likely get honorable mention. Harlan Coben, whose 35 novels have sold roughly 90 million copies, calls “Bird by Bird” his “favorite writing manual.” “I use it like a coach’s halftime speech to get me fired up to write.”
In a 2007 interview, “Eat Pray Love” author Elizabeth Gilbert called herself Lamott’s “literary offspring.” Paula McLain, who wrote the 2011 blockbuster “The Paris Wife,” told me: “I return to ‘Bird by Bird’ again and again because Anne Lamott tells the truth about how hard this work is — and then somehow makes you laugh about it.”
I reached out to best-selling memoirist and novelist Dani Shapiro to ask if she had her own experience with the book. “A writer is always a beginner,” she said. “And there is no better companion than ‘Bird by Bird.’”
Lamott and Allen partnered to write “Good Writing.”
(Christie Hemm Klok / For The Times)
Lamott, 71, and Allen, 69, met in 2016 on the 50-plus dating site OurTime.com. Nine months later, they bought a woodsy Marin County home with room for Lamott’s son and grandson. Sam, when he was 1 year old, was the subject of his mom’s first bestseller, the 1993 memoir “Operating Instructions.” His son Jax was the subject, at age 1, of his grandmother’s 2012 memoir, “Some Assembly Required.”
“We were watching U.S. Open tennis one night and Neal said, ‘Can I ask you something?’” Lamott told me via email. “I barely looked away from the TV, and he asked me to marry him. I said, ‘Yes, if we can get a cat.’”
After a decade of marriage, Lamott and Allen have undertaken a professional collaboration whose outcome, like their union, is greater than the sum of its parts. “Good Writing: 36 Ways to Improve Your Sentences” is as sharply specific as “Bird by Bird” is wanderingly wonderful: as winning a companion piece as two winning companions could create. The table of contents is itself a mini-manual of writerly tips: “Use Strong Verbs.” “Sound Natural.” “Keep it Active.” “Stick with Said.” “Don’t Show Off.”
Lamott and Allen.
(Christie Hemm Klok / For The Times)
I spoke to the late-life lovebirds about their process of marital manuscript-making: the good, the not so good and the blackmailing.
Meredith Maran: How did writing “Bird by Bird” compare to co-authoring “Good Writing”?
Anne Lamott: “Bird by Bird” was literally everything I knew about writing, everything I had been teaching my students for years. It was definitely my book. “Good Writing” was definitely Neal’s book. I just foisted my attention on him and threatened to undermine the marriage if he did not let me contribute.
MM: Neal, what on earth convinced you that you could add something to one of the world’s most popular writing books —written by your wife, no less?
Neal Allen: Oh, I’m not adding anything to “Bird by Bird,” which is a complete classic. It’s everything you need to know about becoming a writer. “Good Writing” is about what comes next: a second draft. And while it’s not fair to call “Bird by Bird” a craft book — it’s much more — it’s fine to define “Good Writing” that way.
“Helping each other with our work is one of the richest aspects of our life as a married couple,” Lamott said.
(Christie Hemm Klok / For The Times)
MM: In producing this joint project, how did you two negotiate the differences between your writing styles and personalities?
AL: We didn’t need to negotiate. Neal somehow manages to be both elegant and welcoming, whereas I think I am more like the class den mother, with a plate of cupcakes, exhorting people not to give up, trying to convince them that they can only share their truth in their own voice, that their voice is plenty good, and that when they get stuck, as we all do, I know some tricks that will help them get back to work.
NA: I once asked AI to describe the difference between my writing and Annie’s. AI answered that I explain things to readers; Annie helps readers reach catharsis. I think that’s absolutely right.
MM: How did you come up with the book’s fab format, whereby each of you writes your own introduction, and then each chapter starts with Neal’s thoughts about one of the 36 rules and ends with Annie’s?
NA: Annie first asked if she could annotate what I had written. That scared the bejesus out of me. When she started writing her own essays in her own voice, I was quite relieved. One of the format’s surprising strengths is that Annie always gets the last word. I explain the rule; then she helps the reader find their way and resolve their issues with the rule. There’s a downside: I don’t get to respond when she tells the reader to ignore me.
“I’m not adding anything to ‘Bird by Bird,’” Allen said. “It’s everything you need to know about becoming a writer. ‘Good Writing’ is about what comes next: a second draft.”
(Christie Hemm Klok / For The Times)
MM: In your intro, Anne, you recall Neal telling you he was working on a writing book. “Well. Hmmmph,” you replied. “I had written a book on writing once …” How did professional jealousy, competitiveness, possessiveness, or, on the brighter side, tenderness, collaborative spirit and generosity play out as you wrote a writing book together?
AL: We have no competitiveness or jealousy when it comes to each other’s writing. We just want the other person to write the most beautiful work they can. We are each other’s first reader, and editor, and while of course I feel attacked if Neal suggests even the tiniest change to my deathless prose, I have come to understand that his suggested cuts and additions save me from myself. Helping each other with our work is one of the richest aspects of our life as a married couple.
NA: There’s no way around “Bird by Bird,” and I just have to deal with that. My worry was whether Annie really wanted to be associated with my little book. I’m envious of Annie’s brilliance, of course, but we speak the same writing language and we love it equally.
MM: What are each of you proudest of, “Good Writing”-wise?
AL: We just recorded the audio version, and I was surprised by how much practical help the book offers. Also, I love the tone, which is so conversational and sometimes, I hope, pretty funny.
NA: I had the opposite reaction to recording the audio version. I saw all the opportunities for readers to mock me. In the 18 months between writing a final draft and the book showing up in stores, we’ve both flipped from believing it reflects well on us to thinking it’s a disaster. Luckily, both of us haven’t ever thought it sucks at the same time.
MM: That is fortunate. Also, Neal, I’m not sure you answered my question.
NA: What am I proudest of? That the book exists. I carried around these rules for improving sentences for years. I think a lot of writers do a book because they notice it’s not out there, and why isn’t it? And then they shrug, ‘Well, I guess it’s up to me.’ That’s how I came into all three of my books.
AL: May I just add that I’m proud to introduce my seriously charming and breathtakingly wise husband to a wider audience.
Festival of Books
“Written by Hand: Lexicons, Storytelling, and Protecting Human Language in an Age of Artificial Everything” (featuring Anne Lamott and Neal Allen)
Like the mythical city of Brigadoon, Lisa Kudrow’s “The Comeback” has returned to television after many years away, with the difference that time has not stood still for its inhabitants, older in a changing world that values them less and which they navigate with less assurance.
Kudrow, who created and writes the series with Michael Patrick King, was in her youth a player in the twilight of network-dominated television, cast in a smart, influential show with wide, multigenerational appeal; in a quantitative sense, at least, everything would be downhill from there, as the medium transformed and transformed again. “The Comeback” premiered in 2005, just a year after the end of “Friends”; the first season addressed the rise of reality TV, and the next season, in 2014, riffed on dark, streaming “prestige” television.
The new (and final) season, which is both timely and speculative, addresses the impact of artificial intelligence on the medium and the industry, hinting at a dystopian future; this gives it a moral, even political component, not to say a sense of urgency. Not surprisingly, “The Comeback,” as a thing made by humans, comes down firmly on their side — it’s a manifesto at times — even as it acknowledges, uncomfortably, that computer-produced content might be “good enough.”
Once again, Kudrow plays Valerie Cherish, who, at 60 — the phrase “of a certain age” repeats throughout the series — still qualifies as a working actor. But she’s been pushed into the further reaches of the profession: Her two-season cozy mystery series, “Mrs. Hatt” (“part-time gardener, solves crime, husband is an ex-police chief”), is on no one’s radar but her own, having shown on Epix. A day’s work on a “no-budget” film is even less rewarding than she had imagined; she lasted all of two episodes on “The Traitors.” Paddling hard to stay current, to improve her brand, she bumbles through a podcast, “Cherish the Time,” without any idea what to do with that time; employs a social media person, Patience (Ella Stiller), with no discernible impact; and posts pictures of herself holding products in hopes of “future collabs.”
Still, she is not poor. Valerie and husband Mark (Damian Young), have moved from Brentwood to a condominium with a view in the (real life) Sierra Towers, overlooking the Sunset Strip, opening the latest “new chapter” in their lives, though just what that chapter for them is hard to say. Mark has lost his job in finance — “You told a joke at work at a time when jokes were illegal,” Valerie says, trying to cheer him, “no one cares now” — but left on a golden parachute; now he builds his day around pickleball. A potential role in a reality show, “Finance Dudes,” isn’t working out to anyone’s satisfaction. He’s on the verge of a three-quarter-life crisis.
When her self-promoting manager/publicist Billy (Dan Bucatinsky) comes to her waving an offer for a new series, for a new network, in which she’ll star, Valerie is more than intrigued, if taken aback when he tells her that it’s being written by AI. (He isn’t supposed to know.) Network head Brandon (Andrew Scott, as blandly discomfiting as his Moriarty on “Sherlock”) assures her that it is “within the Writers Guild agreement,” but that it is also a secret — which will account for a lot of comedy going forward, secrets and lies being the very stuff of the form. “AI is really extraordinary,” he tells Valerie. “After all, it picked you.”
It’s also created a wholly generic multicamera sitcom, “How’s That?,” in which Valerie’s character, Beth, as she describes it, “runs a cute, charming old New England B&B with the help of her hunk nephew, Bo — so Beth and Bo, B&B.” (“Viewers want a break from the complicated confusing storylines of all these dark streaming shows,” says a network exec.) Her eager supporting cast has no idea that the series is being written by anything other than its human faces, unhappily married couple Josh (John Early) and Mary (Abbi Jacobson). Josh, who thinks of himself as “the voice of women of a certain age,” is precious about the jokes he manages to get into the script; Mary couldn’t care less. Untalented writing assistant Marco (Tony Macht) only wants “to get, like, a really nice house.” The AI, meanwhile, is personified to the cast and crew, who know nothing about it, as someone named “Al,” who “works remotely.”
One by one, the old company is introduced into the new season, Valerie finds Jane (Laura Silverman), her former documentarian, working as a cashier at Trader Joe’s, having tired of scuffling as a filmmaker, “begging people to care about the things that I cared about.” When Valerie lets it slip that her new series is AI-generated — “but don’t tell anyone ‘cause that’s a secret” — Jane is inspired to pick up her camera again. Lance Barber will eventually rejoin as screenwriter Paulie G., Valerie’s old nemesis. Robert Michael Morris, who played Mickey, Valerie’s hairdresser and best friend, in earlier seasons, passed away in 2017; Jack O’Brien, as Tommy, occupies a version of that space here.
Valerie may be only moderately successful, but she isn’t a hack. She has an Emmy for “Seeing Red,” the drama at the center of Season 2. She pushes back against the costumer (Benito Skinner) who wants to put her in a caftan. She knows her craft and is nominally proud of belonging to a union. She’s not a diva, but she has her pride. And that she is loyal, even when it does her no good, makes her easy to like. Thrust half-wittingly onto this cutting edge — being the first in an AI comedy, Mark tells her, “is like saying, ‘I was the first one to eat an arm in the Donner Party’” — she is wholly sympathetic, and, eventually, as things bend toward horror in a last-act revelation, a hero.
Though the subject is serious, the approach this time is light and farcical. Partially abandoning the documentary aesthetic of its predecessors — the first season had the look of amateur video, and the second of guerrilla filmmaking — much of this season is shot as a conventional, non-meta television show, allowing us access to private conversations and meetings without having to account for Jane and her crew, or requiring the players to act as if they’re being watched. Paradoxically, without pretending to reality, it makes some things more real.
Playing himself, director James Burrows, whom Valerie convinces to helm her pilot, notes that the jokes AI writes might come fast but are never better than obvious. “Surprising only comes from a group of writers huddled in a corner beating themselves up to beat out a better show,” he says. And just as Valerie is not a character an algorithm could produce, Kudrow is not an actor a machine could ever imagine. She’s no Tilly Norwood, or Tilly Norwood at 60, or Tilly Norwood with quirks applied. There’s no one like her— other than her — for the learning machines to scrape.
You should never settle for “good enough” when better, or best, is available. But that choice is on you.
WASHINGTON — Robert S. Mueller III, the FBI director who transformed the nation’s premier law enforcement agency into a terrorism-fighting force after the Sept. 11, 2001, attacks and later became special counsel in charge of investigating ties between Russia and Donald Trump’s presidential campaign, has died. He was 81.
“With deep sadness, we are sharing the news that Bob passed away” on Friday night, his family said in a statement Saturday. “His family asks that their privacy be respected.”
President Trump, responding on social media, said: “Robert Mueller just died. Good, I’m glad he’s dead.” He added: “He can no longer hurt innocent people!”
At the FBI, Mueller set about almost immediately overhauling the bureau’s mission to meet the law enforcement needs of the 21st century, beginning his 12-year tenure just one week before the Sept. 11 attacks and serving across presidents of both political parties. He was nominated by Republican President George W. Bush.
The cataclysmic event instantaneously switched the bureau’s top priority from solving domestic crime to preventing terrorism, a shift that imposed an almost impossibly difficult standard on Mueller and the rest of the federal government: Preventing 99 out of 100 terrorist plots wasn’t good enough.
Later, he was special counsel in the Justice Department’s investigation into whether Russia’s attempts to help Trump’s 2016 presidential campaign amounted to illegal cooperation to sway the outcome.
Mueller was a patrician Princeton graduate and Vietnam veteran who walked away from a lucrative midcareer job to stay in public service, and his old-school, buttoned-down style made him an anachronism during a social-media-saturated era.
In a statement, former President Obama called Mueller “one of the finest directors in the history of the FBI” who saved “countless lives” after transforming the bureau. “But it was his relentless commitment to the rule of law and his unwavering belief in our bedrock values that made him one of the most respected public servants of our time,” Obama added.
The FBI did not immediately respond to a request seeking comment. The FBI Agents Assn., a nonprofit advocacy group representing current and former agency employees, lauded Mueller for his “commitment to public service and to the FBI’s mission.“
Investigator of a sitting president
The second-longest-serving director in FBI history, behind only J. Edgar Hoover, Mueller held the job until 2013 after agreeing to Obama’s request to stay on beyond his 10-year term.
After several years in private law practice, Mueller was asked by Deputy Atty. Gen. Rod Rosenstein to return to public service as special counsel in the Trump-Russia inquiry.
Mueller’s stern visage and taciturn demeanor matched the seriousness of the mission, as his team spent nearly two years quietly conducting one of the most consequential, and divisive, investigations in Justice Department history. He held no news conferences and made no public appearances during the investigation, remaining quiet despite attacks from Trump and his supporters and creating an aura of mystery around his work.
All told, Mueller brought criminal charges against six of the president’s associates, including his campaign chairman and first national security advisor.
His 448-page report released in April 2019 identified substantial contacts between the Trump campaign and Russia but did not allege a criminal conspiracy. He laid out damaging details about Trump’s efforts to seize control of the investigation, and even shut it down, though he declined to decide whether Trump had broken the law, in part because of Justice Department policy barring the indictment of a sitting president.
In perhaps the most memorable language of the report, Mueller pointedly noted: “If we had confidence after a thorough investigation of the facts that the president clearly did not commit obstruction of justice, we would so state. Based on the facts and the applicable legal standards, we are unable to reach that judgment.”
The nebulous conclusion did not deliver the knockout punch to the administration that some Trump opponents had hoped for, nor did it trigger a sustained push by House Democrats to impeach the president — though he was later tried and acquitted on impeachment charges related to pressuring Ukraine for campaign dirt on Joe Biden and Trump’s role in the Jan. 6 riot and insurrection.
The outcome of the Mueller investigation also left room for Atty. Gen. William Barr to insert his own views. He and his team made their own determination that Trump did not obstruct justice, and he and Mueller privately tangled over a four-page summary letter from Barr that Mueller argued did not adequately capture his report’s damaging conclusion.
Mueller deflated Democrats during a highly anticipated congressional hearing on his report when he offered terse, one-word answers and appeared hesitant at times in his testimony. Frequently, he seemed to waver on details of his investigation. It was hardly the commanding performance many had expected from Mueller, who had a towering reputation in Washington.
Over the next months, Barr made clear his own disagreements with the foundations of the Russia investigation, moving to dismiss a false-statements prosecution that Mueller had brought against former national security advisor Michael Flynn, even though that investigation ended in a guilty plea.
Mueller’s tenure as special counsel was the capstone of a career spent in government.
A transformation at the FBI
His time as FBI director was defined by the Sept. 11 attacks and their aftermath, as the agency — granted broad new surveillance and national security powers — scrambled to confront an ascendant Al Qaeda, interrupt plots and take terrorists off the street before they could act.
It was a new model of policing for an FBI that had long been accustomed to investigating crimes that had already occurred.
When he became FBI director, “I had expected to focus on areas familiar to me as a prosecutor: drug cases, white-collar criminal cases and violent crime,” Mueller told a group of lawyers in October 2012.
Instead, “we had to focus on long-term, strategic change. We had to enhance our intelligence capabilities and upgrade our technology. We had to build upon strong partnerships and forge new friendships, both here at home and abroad.”
In response, the FBI shifted 2,000 of the total 5,000 agents in the bureau’s criminal programs to national security.
In hindsight, the transformation was a success. At the time, there were problems, and Mueller said as much. In a speech near the end of his tenure, he recalled “those days when we were under attack by the media and being clobbered by Congress; when the attorney general was not at all happy with me.”
Among the issues: The Justice Department’s inspector general found that the FBI circumvented the law to obtain thousands of phone call records for terrorism investigations.
Mueller decided that the FBI would not take part in abusive interrogation techniques of suspected terrorists, but the policy was not effectively communicated down the line for nearly two years.
In an effort to move the FBI into a paperless environment, the bureau spent more than $600 million on two computer systems — one that was 2½ years overdue and a predecessor that was only partly completed and had to be scrapped after consultants declared it obsolete and riddled with problems.
For the nation’s top law enforcement agency, it was a rocky trip through rough terrain.
But there were many successes as well, including thwarted terrorism plots and headline-making criminal cases like the one against corporate fraudster Bernie Madoff. The Republican also cultivated an apolitical reputation on the job, nearly quitting in a clash with the Bush administration over a surveillance program that he and his successor, James B. Comey, considered unlawful.
He famously stood alongside Comey, then deputy attorney general, during a dramatic 2004 hospital standoff over federal wiretapping rules. The two men planted themselves at the bedside of the ailing Atty. Gen. John Ashcroft to block Bush administration officials from making an end run to get Ashcroft’s permission to reauthorize a secret no-warrant wiretapping program.
In an extraordinary vote of confidence, Congress, at the Obama administration’s request, approved a two-year extension for Mueller to remain at his post beyond its 10-year term.
A Marine who served in Vietnam
Mueller was born in New York City and grew up in a well-to-do suburb of Philadelphia.
He received a bachelor’s degree from Princeton University and a master’s degree in international relations from New York University. He then joined the Marines, serving three years as an officer during the Vietnam War. He led a rifle platoon and was awarded a Bronze Star, Purple Heart and two Navy Commendation Medals. After his military service, Mueller earned a law degree from the University of Virginia.
Mueller became a federal prosecutor and relished the work of handling criminal cases. He rose quickly through the ranks in U.S. attorneys’ offices in San Francisco and Boston from 1976 to 1988. Later, as head of the Justice Department’s criminal division in Washington, he oversaw a range of high-profile prosecutions that chalked up victories against targets as varied as Panamanian dictator Manuel Noriega and New York crime boss John Gotti.
In a midcareer switch that shocked colleagues, Mueller left a job at a prestigious Boston law firm to join the homicide division of the U.S. attorney’s office in the nation’s capital. There, he immersed himself as a senior litigator in a bulging caseload of unsolved drug-related homicides in a city rife with violence.
Mueller was driven by a career-long passion for the painstaking work of building successful criminal cases. Even as head of the FBI, he would dig into the details of investigations, some of them major cases but others less so, sometimes surprising agents who suddenly found themselves on the phone with the director.
“The management books will tell you that as the head of an organization, you should focus on the vision,” Mueller once said. But “for me there were and are today those areas where one needs to be substantially personally involved,” especially in regard to “the terrorist threat and the need to know and understand that threat to its roots.”
Two terrorist attacks occurred toward the end of Mueller’s watch: the Boston Marathon bombing and the Ft. Hood shootings in Texas. Both weighed heavily on him, he acknowledged in an interview two weeks before his departure.
“You sit down with victims’ families, you see the pain they go through, and you always wonder whether there isn’t something more” that could have been done, he said.
Tucker writes for the Associated Press. AP writer Nicolas Riccardi in Denver contributed to this report.
Public murals are among the best ways to honor our heroes, which is why dozens of murals of civil rights icon Cesar Chavez dot California’s landscape. Those images are now deeply upsetting after shocking revelations published in a recent New York Times investigation that allege Chavez sexually abused girls as young as 12 and raped his fellow labor organizer Dolores Huerta.
According to the nonprofit Travel Santa Ana, the Chavez mural, created in 2008 to commemorate the launch day of the city’s KaBoom playground and Jerome Community Learning Garden, is “one of 30 murals around California that was commissioned by a project commemorating Cesar Chavez, initiated by Maria Shriver and former LA Mayor [Antonio] Villaraigosa.”
That’s 30 from a single project — the total number would be impossible to count. It’s hard to overstate the prominence of Chavez’s legacy in California, where his name and likeness are ubiquitous on the sides of bodegas, in parks, on street signs, on schools and memorialized in statues. He was considered a man of the people, which is why murals, created in unassuming local spaces, seemed especially fitting.
It’s now up to the public that revered him and is now grappling with the pain of his misdeeds to decide what should become of his painted image. California lawmakers announced their intention to rename the upcoming Cesar Chavez holiday “Farmworkers Day,” and that idea could be extended to murals of Chavez. These artworks could be remade to instead celebrate the achievements of the many people — especially the women and girls — who marched and fought for the labor movement.
I expect changes to these murals will come swiftly. A statue of Chavez at Fresno State has already been covered and will soon be removed. Maybe it can be melted down to create something new and uplifting. We can paint over the past, but we should never forget.
I’m Arts editor Jessica Gelt, looking forward to gazing at a mural of Huerta in the very near future.
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The week ahead: A curated calendar
FRIDAY Brokentalkers Through music and dance, the Dublin-based theater company presents “Bellow,” the story of Irish accordionist Danny O’Mahony as he revisits key moments when mentorship, mastery of the craft and preservation of the art form influenced his path. 8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Piano recital with Gilles Vonsattel, solo Camerata Pacifica presents the third program of “Beethoven 32,” a three-year Beethoven cycle in which principal pianist Vonsattel performs all 32 of the composer’s piano sonatas. 7 p.m. Friday. Academy of the West, 1070 Fairway Rd., Santa Barbara. 8 p.m. Sunday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. cameratapacifica.org
Sex, Lies and Harold Pinter Two of the playwright’s darkly comic one-acts, “Party Time” and “The Lover,” are paired. 8 p.m. Fridays and Saturdays; 3 p.m. Sundays, through April 26. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
SATURDAY And the Beat Goes On The Gay Men’s Chorus of Los Angeles performs American classics from R&B, Motown, gospel and musical theater with Emmy Award-winning host and GMCLA alum Melvin Robert and soprano Nicole Heaston. 8 p.m. Saturday; 3:30 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd, Beverly Hills. GMCLA.org
Cirque Kalabanté’s Afrique en Cirque A celebration of African culture featuring acrobatics accompanied live Afro Jazz, percussion and kora. 8 p.m. Saturday. Carpenter Performing Arts Center, CSULB, 6200 E. Atherton St., Long Beach. carpenterarts.org; 3 p.m. Sunday. The Soraya, 18111 Nordhoff Street, Northridge. thesoraya.org
Artist Todd Gray has a show at Perrotin.
(Kyungmi Shin)
Todd Gray A solo exhibition of the artist’s photosculptures, “Portals,” continues his interest in the effects of colonization, the built environment and the natural world. Gray will be in conversation with LACMA chief executive Michael Govan on Tuesday. Opening reception, 6 to 8 p.m. Saturday; conversation, 6:30 p.m. Tuesday; exhibition continues through May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com
Convergence: Contemporary Artists of Armenian Descent More than 20 artists, in work ranging from abstraction to conceptual installations, interrogate the complexities of their cultural identities. Through Aug. 9. Forest Lawn Museum, 1712 S. Glendale Ave., Glendale. museum.forestlawn.com
Esther Chung and Ins Choi in “Kim’s Convenience” at the Ahmanson.
(Dahlia Katz)
Kim’s Convenience Playwright Ins Choi stars in this production of his award-winning comedy drama, about a Korean family-run corner store in Toronto, that inspired the TV series. Directed by Weyni Mengesha. Through April 19. Ahmanson Theatre, 135 N. Grand Avenue, downtown L.A. centertheatregroup.org
‘KPop Demon Hunters’ singalong Bop to the beat of this year’s two-time Oscar-winner — animated feature and original song — at this special Academy screening. 11 a.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Miss Velma in the City of Angels In the “Religion and Ritual” section of the ongoing Art of the West exhibition, this new installation features a custom-made dress worn by the charismatic co-founder of the Universal World Church in Los Angeles. Opens Friday. The Autry, 4700 Western Heritage Way. Griffith Park. theautry.org
Ok, Olympia, Let’s Go! Apollo Dukakis wrote and performs the one-act play “You and Me” alongside Kandis Chappell in a multimedia celebration of his sister, the late Academy Award-winning actress Olympia Dukakis. Playwright and filmmaker Graham Barnard hosts with special invited guests. 8 p.m. Saturday. 3 p.m. Sunday. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Song Of The North Hamid Rahmanian created this multimedia production using shadow puppetry and projected animation to reimagine the Persian epic “Shahnameh” about a fierce heroine and her quest to save her beloved. 2 p.m. Saturday, Sunday and March 28 to 29; 7 p.m. Saturday and March 29. Pasadena Playhouse, 39 S. El Molino Ave. pasadenaplayhouse.org
The exhibition “Turner & Constable” at the Tate in London is featured in a new documentary on the two British painters.
Turner & Constable Laemmle’s “Culture Vulture” series presents this documentary on two of Britain’s finest artists — J.M.W. Turner and John Constable — their rivalry as very different landscape painters and the current exhibition at the Tate in London. Directed by David Bickerstaff. 10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com
Vertigo in Concert Sarah Hicks conducts the Los Angeles Philharmonic performing the Bernard Herrmann score for Alfred Hitchcock’s classical psychological thriller live to screen. 8 p.m. Saturday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
SUNDAY Network The American Cinematheque presents screenwriter Paddy Chayefsky’s prescient 1976 media satire for its 50th anniversary and in tribute to actor Robert Duvall. 7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Yefim Bronfman The pianist performs selections from Schumann, Brahms, Debussy and Beethoven. Rescheduled from Feb. 11. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Geoff Elliott in “Death of a Salesman” at A Noise Within.
(Daniel Reichert)
Death of a Salesman A Noise Within co-artistic director Geoff Elliott steps into the shoes of Arthur Miller’s beleaguered working man. Through April 19. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
Ebell + LA Festival: Powered by Women A free celebration of art, activism and community spirit featuring performances, classes and crafts. 11 a.m. to 4 p.m. The Ebell of Los Angeles, 741 S. Lucerne Blvd. ebellofla.org
Akinsanya Kambon: The Hero Avenges A conversation between the sculptor known for his work inspired by the Black diaspora, African histories and mythologies, and Hammer curator Pablo José Ramírez, plus the premiere of a new eponymous documentary directed by Gabriel Noguez and Sean Rowry and a book signing of the monograph “Akinsanya Kambon: The Hero Avenges.” 2 p.m. Sunday. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu
MONDAY Lang Lang Plays Beethoven The piano virtuoso joins the Pacific Symphony for performances of Beethoven’s “Piano Concerto No. 3” and Egmont Overture, plus Dvořák’s Ninth Symphony, “From the New World.” 8 p.m. Monday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
TUESDAY Gerald Barry’s ‘Salome’ Thomas Adès conducts the L.A. Phil in the U.S. premiere of Barry’s new opera, based on the Oscar Wilde play. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A.laphil.com
WEDNESDAY Alvin Ailey American Dance Theater The illustrious troupe performs two alternating programs as part of its exclusive multiyear Southern California residency under the leadership of new Artist Director Alicia Graf Mack. 7:30 p.m. Wednesday to March 28; 2 p.m. March 28 to 29. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org
THURSDAY Level Up! A trans tween feels like she can only be herself in her virtual world in the Latino Theater Company’s world premiere of a resonant, family-friendly play by Gabriel Rivas Gómez. Directed by Fidel Gómez. Previews through April 3. Opens April 4 and runs through May 3. Los Angeles Theatre Center, 514 S. Spring St., downtown L.A. latinotheaterco.org
Arts Anywhere
BroadwayHD Don’t get out to the theater as much as you’d like? This decade-old streaming service could be a viable supplement to your live theater habit. It offers a nice variety of shows from Broadway and the West End, off-Broadway, plays, musicals and virtually anything in between. BroadwayHD: $20 per month or $200 per year.
“Future Relic: Failures, Disasters, Detours, and How I Made a Career as an Artist” by Daniel Arsham.
(Simon & Schuster)
Future Relic: Failures, Disasters, Detours, and How I Made a Career as an Artist Part memoir, part how-to, contemporary artist Daniel Arsham’s new book shares pragmatic advice on things like how to get a gallery, why you need a great lawyer, how to run a creative business and the importance of building a network of successful people. Bursting onto the scene more than 20 years ago with a bold vision across multiple mediums and accruing an eclectic list of big-name collaborators, including Merce Cunningham, Pharrell Williams, Pokémon, Tiffany & Co. and Cleveland Cavaliers, he quickly found both critical and commercial success. In a 2014 review of the artist’s work, Times contributor Sharon Mizota wrote, “Daniel Arsham’s casts of everyday or recently obsolete objects in sand, volcanic ash or various kinds of rock are like premature fossils, or perhaps eerie premonitions of ruin to come.” At a time when everything in the world is starting to feel obsolete, including us, “Future Relic” could find a place on the bookshelves of many would-be creatives. (Think of it as a companion to Rick Rubin’s “The Creative Act: A Way of Being.”). Authors Equity: 320 pp. $30.
Out of Vienna The acclaimed Berlin-based chamber ensemble Leonkoro Quartet, formed in 2019, has released its stellar debut recording after winning a string of prestigious awards across Europe. An exploration of early 20th-century modernism in the Austrian capital, the album features compositions by Alban Berg, Anton Webern and Erwin Schulhoff. Alpha Classics: Available on CD ($19) or download ($9.25).
— Kevin Crust
Culture news and the SoCal scene
Spring is here, and with it many arts and culture entertainment choices.
McNulty has been extra busy lately and has delivered a series of reviews. Harry Potter fans will enjoy his take on Daniel Radcliffe in Broadway’s “Every Brilliant Thing,” which McNulty calls “an ingenious and touching solo performance piece written by Duncan Macmillan with Jonny Donahoe on the subject of suicide — or more precisely, on the ordinary joys that militate against such a drastic step.”
McNulty also dropped in on the Geffen Playhouse to catch “Dragon Mama,” the second installment in a trilogy written and performed by Sara Porkalob about her Filipina American family. “To be frank, I wasn’t sure I was up for a trilogy on Porkalob’s family history. But after ‘Dragon Mama,’ I can hardly wait for ‘Dragon Baby,’ the third and final segment,” McNulty writes.
Pierre Adeli and Adam J. Jefferis in “The Adding Machine.”
(Bob Turton Photography)
Finally, McNulty checks in with the Actors’ Gang, which is running a production of Elmer Rice’s 1923 expressionist satire, “The Adding Machine.” The story, about “an accountant drone aptly named Mr. Zero who, after losing his job to an adding machine, kills his boss and is sentenced to death,” shares uncomfortable modern-day parallels with the threat to workers currently posed by AI, McNulty writes.
Classical music critic Mark Swed got the scoop on the Los Angeles Philharmonic’s new season — its first without revered music director Gustavo Dudamel. “For the first time in 64 years, the L.A. Phil will be without a music director, and with no one in waiting in the wings. But you may barely notice. In little more than three months, Dudamel, although newly installed as music and artistic director of the New York Philharmonic, will be saying hello once again to his old band at Walt Disney Concert Hall for two weeks of Beethoven,” Swed writes.
Workers install the Francis Bacon 1969 “Three Studies of Lucian Freud” oil painting in the David Geffen Galleries at the Los Angeles County Museum of Art.
(Kayla Bartkowski / Los Angeles Times)
I got to watch workers hang a $142.5-million Francis Bacon triptych on the walls of LACMA’s new David Geffen Galleries. The paintings were gifted to the museum by its late trustee, Elaine Wynn. LACMA’s director, Michael Govan, said that part of her interest in supporting the new building was because she wanted the paintings to eventually belong to the public.
Dance writer Steven Vargas penned an interesting profile of choreographer Jacob Jonas and how his battle with Stage 4 lymphoma deepened his connection to his craft.
The news from the Kennedy Center does not stop coming. Late last week, we learned that President Trump had replaced Kennedy Center president Richard Grenell, who presided over the unfolding chaos at the center for a little over a year, with Matt Floca, the vice president of facilities operations at the center. This week, the Trump-appointed board voted to officially close the venue for two years. Trump had already announced his intentions, so the vote amounted to little more than a rubber stamp.
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Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of Cal State Northridge.
(The Soraya)
The Soraya announced its 2026-27 season, which includes six major debuts: singer and actress Audra McDonald, the Grammy Award-winning Snarky Puppy ensemble, Emmet Cohen’s jazz trio, Dance Theatre of Harlem, the National Symphony Orchestra (which will be roving in the wake of the Kennedy Center closure) and the National Symphony Orchestra of Ukraine. Also arriving at the Soraya, according to a note from its publicist, “Domingo Hindoyan leads the LA Phil and soprano Sonya Yoncheva in the world premiere of a new, LA Phil-commissioned song cycle from Miguel Farias. Farias’ incandescent new work is paired with Barber’s ‘Medea’s Dance of Vengeance’ and Dvořák’s Ninth Symphony.”
The first-ever museum survey of the legendary Chicana artist Ofelia Esparza (“Ofelia Esparza: A Retropective “) at Vincent Price Art Museum has been extended through May — now you have no excuse to not get yourself out to see it.
NEW YORK — In a strongly worded decision this week, a federal judge ordered that the Voice of America — an international broadcaster with the mission to provide news for countries around the world that was largely shut down for the last year by the Trump administration — come roaring back to life.
Whether or not that actually happens is uncertain.
The government filed notice Thursday to appeal U.S. District Judge Royce C. Lamberth’s order two days earlier to put hundreds of VOA employees who have been on paid leave the last year back to work. Lamberth had ruled on March 7 that Kari Lake, President Trump’s choice to oversee the bureaucratic parent U.S. Agency for Global Media, didn’t have the authority to reduce VOA to a skeleton.
The Voice of America was established as a news source in World War II, beaming reports to many countries that had no tradition of a free press. Before Trump took office again last year, Voice of America was operating in 49 different languages, heard by an estimated 362 million people.
Trump’s team contended that government-run news sources, which also include Radio Free Europe/Radio Liberty, were an example of bloated government and that it wanted news reporting more favorable to the current administration. With a greatly reduced staff, VOA currently operates in Iran, Afghanistan, China, North Korea and in countries with a large population of Kurds.
Lamberth, in his decision, said Lake had “repeatedly thumbed her nose” at laws mandating VOA’s operation.
Time to turn the page at VOA?
VOA director Michael Abramowitz said legislators in both parties understand the need for a strong operation and have set aside enough funding for the job to be done. “It is time for all parties to come together and work to rebuild and strengthen the agency,” he said.
Don’t expect that to happen soon. “President Trump was elected to eliminate waste, fraud and abuse across the administration, including the Voice of America — and efforts to improve efficiency at USAGM have been a tremendous success,” said White House spokeswoman Anna Kelly. “This will not be the final say on the matter.”
Patsy Widakuswara, VOA’s White House bureau chief and a plaintiff in the lawsuit to bring it back, said that “restoring the physical infrastructure is going to take a lot of money and some time, but it can be done. What is more difficult is recovering from the trauma that our newsroom has gone through.”
It’s an open question whether the administration wants a real news organization or a mouthpiece, said David Ensor, a former Voice of America director between 2010 and 2014. “We don’t know — maybe no one does at the moment — what the future holds,” he said.
The administration’s efforts over the last year to bolster friendly outlets and fight coverage that displeases Trump offer a clue, even though Congress has required that Voice of America be an objective and unbiased news source. This week it was announced that Christopher Wallace, an executive at the far-right network Newsmax who had previously spent 15 years at Fox News Channel, will be the new deputy director at VOA. Abramowitz didn’t know he was getting a new deputy until it was announced.
Widakuswara wouldn’t comment on what Wallace’s appointment might mean. “I’m not going to pass judgment before seeing his work,” she said.
While Lamberth ordered more than a thousand employees on leave to go back to work, it’s not clear how many of them moved on to other jobs or retired in the last year. The judge also said he did not have the authority to bring back hundreds of independent contractors who were terminated.
One employee who left is Steve Herman, a former White House bureau chief and national correspondent at VOA and now executive director of the Jordan Center for Journalism Advocacy and Innovation at the University of Mississippi. Despite the court decisions, he questions whether the Trump administration would oversee a return to what the organization used to be.
“I’m a bit of a pessimist,” Herman said. “I think it’s going to be very difficult.”
An administration loath to admit defeat
Besides fighting to shut it down, Trump is loath to admit defeat. The White House recently nominated Sarah Rogers, the undersecretary of State for public diplomacy, to run the U.S. Agency for Global Media, putting it more firmly within the administration’s control. Her nomination requires Senate approval.
“Is Marco Rubio’s State Department going to allow objective journalism in 49 languages?” Herman asked. “I don’t think so. I would want that to happen, but that’s a fairy tale.”
In the budget bill passed in February, Congress set aside $200 million for Voice of America’s operation. While that represents about a 25% cut in the agency’s previous appropriation, it sent a bipartisan message of support, said Kate Neeper, VOA’s director of strategy and performance evaluation. Besides being a plaintiff with Widakuswara in the lawsuit to restore the agency, she has helped some of her colleagues deal with some of their own problems over the past year, including immigration issues.
“There is a lot of enthusiasm for going back to work,” she said. “People are eager to show up on Monday.”
The hunger for information from Voice of America in Iran when he was director was a clear example of what the organization meant, Ensor said. Surveys showed that between a quarter and a third of Iran’s households tuned in to VOA once a week, primarily on satellite television. Occasionally the government would crack down and confiscate satellite dishes, but Iranians could usually quickly find replacements, he said.
“I believe in Voice of America as a news organization and as a voice of America,” Ensor said. “It was important, and it can be again.”
March 21 (UPI) — President Donald Trump threatened to send U.S. Immigrations and Customs Enforcement agents to airports to cover for the Transportation Security Administration unless Democrats agree to Republican funding plans for the Department of Homeland Security.
On Truth Social, the president posted: “If the Democrats do not allow for Just and Proper Security at our Airports, and elsewhere throughout our Country, ICE will do the job far better than ever done before! The Fascist Democrats will never protect America, but the Republicans will.”
In an earlier post, he said ICE agents at airports “will do Security like no one has ever seen before, including the immediate arrest of all Illegal Immigrants who have come into our Country, with heavy emphasis on those from Somalia, who have totally destroyed, with the approval of a corrupt Governor, Attorney General, and Congresswoman, Ilhan Omar, the once Great State of Minnesota.”
Former acting ICE Director John Sandweg told The Washington Post that the threat is being used as a punishment.
“This is again an example, it seems to me, of the president seeking to utilize ICE in a way that achieves political goals, almost as a punishment,” Sandweg said. “The operations, to me, don’t seem to be designed to focus on public safety.”
The DHS, which includes TSA, shut down on Feb. 14 because Congress couldn’t agree on a funding bill for the department. Democrats don’t want to fund it until guardrails are put on the agency, and Republicans haven’t agreed to Democrats’ demands.
Because of this, TSA workers have been working without pay for more than a month. Some are quitting or taking days off work, creating long lines at airports.
Earlier on Saturday, billionaire Elon Musk offered to pay the TSA salaries during the shutdown.
“I would like to offer to pay the salaries of TSA personnel during this funding impasse that is negatively affecting the lives of so many Americans at airports throughout the country,” Musk said on X. Axios reported that based on TSA’s headcount, it would cost him more than $40 million per week. The White House didn’t respond to Musk’s offer.
Senate Democratic Leader Chuck Schumer, D-N.Y., on Saturday told Republicans to support a Democratic bill to fund TSA. He said airport delays have reached a “boiling point.”
“If you want TSA workers to get paid, then vote yes,” Schumer said on the Senate floor.
Sen. Patty Murray, D-Wash., said in a statement that Trump should focus on his own party.
“Surely, the next thing people want after waiting hours in long TSA lines is to get wrongfully detained by ICE,” she said. “Here’s an idea: instead of sidelining TSA agents and sending ICE to harass travelers, the president should tell Republicans to stop blocking our bill to pay TSA.”
Inara George looks back on it now as wistfully as someone remembering a love affair or a semester abroad.
“It was at this tiny theater on Pico near LaBrea, next to a barbecue place,” she says. “Our backstage was behind the theater, so we’d sit out there wearing these crazy corseted outfits while the guy next door was smoking brisket.”
A fixture of the Los Angeles music scene known for her solo records and as half of the Bird and the Bee, George is recalling the summer she spent working as a 20-something actor in “The Wandering Whore,” a musical set in 18th century London by composer Eliot Douglass and lyricist Philip Littell that played L.A.’s Playwrights’ Arena in August 1997.
“There was a scene where I die,” George adds, “and then I get reanimated by a ghost and someone pays — I don’t know if you need to put this in the article — someone pays to have relations with me.” She sighs.
“It was just such a rich time.”
Three decades later, George’s warm feelings for that era — and especially for the duo who soundtracked it — have led to an exquisite new album, “Songs of Douglass & Littell,” on which she sets aside her own songwriting to interpret nine tunes by these under-the-radar veterans of West Coast musical theater: searching, funny, vividly emotional songs like “Tired Butterfly,” about a busy insect in search of “a little nap,” and “The Extra Nipple,” which ponders a “harsh encounter with another heart.”
Think of the record as George’s take on one of Ella Fitzgerald’s classic “Song Book” LPs from the late ’50s and early ’60s, when the jazz star was systematically enshrining the work of Cole Porter, Irving Berlin and other authors of the Great American Songbook.
“These men deserve to have some attention,” George says of Douglass and Littell, the latter of whom she’s known since she was a little girl performing in plays at Topanga Canyon’s Theatricum Botanicum. “I want to give them their flowers.”
Yet if the album is rooted in the creative awakenings of George’s youth, it’s also the 51-year-old’s way of embracing middle age.
Inspired by singers like Helen Merrill and Chet Baker — “Elis & Tom,” a 1974 duo album by Brazil’s Elis Regina and Antônio Carlos Jobim, was another touchstone — George turns on “Songs” from the Bird and the Bee’s blippy electronica and the folky pop of her solo work to a jazzier sound that puts her cool, breathy vocals amid piano, strings and horns.
“This is a grown-up record,” says George, who shares three teenage children with her husband, the movie director Jake Kasdan. “I don’t want to be making music that makes me feel like I’m trying to be younger — I wanted to make something that makes me feel my age.”
Inara George at home this month.
(Christina House / Los Angeles Times)
The singer is at home near Griffith Park on a recent afternoon; with her kids at school and Kasdan away on a film shoot, the house is quiet, though signs of music are everywhere: a drum set, a grand piano, a guitar once owned by George’s late father, Lowell George, who founded the cult-fave L.A. rock band Little Feat and who died of a heart attack when Inara was only 4.
“As a woman, it’s a weird time in life — there’s something in-between about it,” she says. “Even the question of what do you wear. When you’re younger, you’re like, I’m gonna wear a dress — is it sexy, is it cute? Now, all of a sudden, all I want to do is wear suits.” She laughs.
Douglass, who plays piano on the new album, hears a “groundedness” in George’s singing all the more remarkable given that the arrangements represent “a new kind of school for her,” he says. “I was wondering how she would approach it, and she’s done it with such aplomb and wisdom.”
On Friday night, Douglass will accompany George — along with more than a dozen other players — in a record-release concert at Largo at the Coronet, with proceeds going to the nonprofit LA Voice, which seeks to organize voters on issues related to immigration and affordable housing.
George happily describes “Songs of Douglass & Littell” as a passion project. “I think you get to a certain point where selling a million records is not your intention,” she says. “Obviously, I wouldn’t make a record like this if I had that intention.” (Counterpoint: the arena-filling success of Laufey.)
“I’m just about the experience,” she adds, “and this has been an amazing experience.”
The experience began one night a few years ago when George hosted a wine-soaked reunion of performers who’d worked with Douglass and Littell back in the ’90s on shows like “The Wandering Whore” and “No Miracle: A Consolation,” the latter a song cycle rooted in the losses of the AIDS epidemic.
Philip Littell, from left, Eliot Douglass and Inara George.
(Thomas Heegard)
After her years of childhood dramatics at the Theatricum — Littell remembers meeting “this bird of a girl with these huge eyes” — George had gone to Boston’s Emerson College to study acting but dropped out and returned to L.A., where she eventually made her name as a musician. (In addition to the Bird and the Bee, her duo with the Grammy-winning producer Greg Kurstin, she’s also played with the Living Sisters and sung with Foo Fighters.)
Yet her postcollege stint in the experimental theater scene always stuck with her, she says. Reconnecting with Littell, whose other work includes the libretto for André Previn’s operatic adaptation of “A Streetcar Named Desire,” and Douglass, who played piano for years with Cirque du Soleil, got George thinking about how she might help preserve their music and bring it to a modern audience.
In 2024, she put together a trio for an intimate gig at Pasadena’s Healing Force of the Universe record store; her old friend Mike Andrews, who produced her solo albums, was there and told her they should record the material. Given the number of ballads she’d worked up, George asked Douglass and Littell to write a couple of new uptempo tunes; among the ones they came up with was the frisky “La Lune S’en Va.”
Does George speak French?
“Not at all,” she says, smiling. “But Philip does. It’s so fun — I was like, ‘Yeah, I’ll take it.’ I think the pronunciation’s OK.”
She and a small crew of musicians cut the album live in the studio over three days — in part an attempt to capture some energy, in part an acknowledgment of an economic reality.
“Is music just a hobby for me now? Yeah, it is,” says George, who’s putting “Songs” out through her own label, Release Me Records. “I mean, I’m spending money to do it.” She worries about the disappearance of music’s middle class even as she notes happily that “Again & Again” by the Bird and the Bee “recently had a little TikTok moment,” as she puts it. (With 86 million streams, it’s the duo’s most popular track on Spotify, followed by an ethereal cover of the Bee Gees’ “How Deep Is Your Love.”)
Yet all that seems less important to George than taking the opportunity to honor “these incredibly talented, very sensitive people” who she says shaped the artist she became.
“Their songs just mean so much to me,” she says of Douglass and Littell. “More than ever, this is the music I want to listen to.”
If you’re checking into a hotel room, there’s one item I recommend you should always avoid, and I’m not talking about the kettle and mugs, but something else entirely
10:52, 20 Mar 2026Updated 10:54, 20 Mar 2026
There’s something I always avoid in every hotel room(Image: Amy Jones)
Tapping my keycard onto my hotel room door always leaves me filled with anticipation, excitiment and dread. Lurking behind that door, I know there will be an unwanted item waiting for me on arrival, and it’s something everyone should avoid.
Having previously worked as a hotel receptionist for several years, I gained a few useful insights into the hospitality industry and how it really unravels behind the scenes. From how upgrades really work and the hidden costs of the mini bar, to getting a cheaper rate and handling awkward guest requests, it was a very valuable experience.
Today, it helps me with my own trips, particularly after witnessing just how hotel rooms are cleaned. And let me tell you, those decorative pillows scattered on the bed and the perfectly placed bed throw are not what you want to see in your hotel room.
From my years working in a hotel, I rarely, if ever, saw hotel decorative pillow covers, blankets, or bed throws washed. Perhaps they got a quick spritz of air freshener or a gentle dusting, but there they sat, still unwashed and covered in other guests’ germs and grime.
So now, without fail and on every room check-in, I will grab the decorative cushions and bedspread and toss them into a corner of the room, never to be handled again for the rest of my stay.
It’s not just in budget hotels that I take this course of action. Even if it’s a luxurious four-star hotel with rave reviews, I will avoid those pillows, throws and blankets like the plague. And if that wasn’t enough of a precaution, I will ensure I flip over the bed pillow that the decorative pillow was touching to avoid any cross-contamination.
While it might seem a little drastic and take me back to that time where anti-bac and toilet roll sold out in shops, I can’t shake the feeling of dirty pillows and throws in a hotel room that other people have used. Once you’ve worked at a hotel and witnessed the other side of hospitality, it opens your eyes for better, and for worse.
Yet, that’s not the only feature of a room I advised you to avoid. The mugs are also problematic. Now, I’m not saying this is the case at every hotel, but more often or not, the mugs are not thoroughly washed before the next guest’s arrival.
On more than one occasion, I’ve witnessed housekeepers rinsing the mugs out in the bathroom sink, wiping them with a cloth, and simply placing them back on the table. While it removes coffee or tea dregs, it doesn’t quite cut it for washing a mug used by guests repeatedly.
As part of my personal check-in routine, in addition to ditching pillows and throws, I’ll always boil the kettle to rinse the mugs and glassware out with hot water as a precaution. I’ll also use a little hand soap. I’m not going to be that guest who demands a fresh mug and glass just in case they haven’t been washed up; a simple home sterilisation is enough to put my mind at ease.
Do you have a travel story to share? Email webtravel@reachplc.com
WASHINGTON — Joe Kent, the director of the National Counterterrorism Center, abruptly resigned Tuesday, becoming the most senior national security official to break publicly with the Trump administration over its military campaign against Iran.
In a statement posted on social media, Kent said he “cannot in good conscience” continue serving in the administration, contending that Iran had “posed no imminent threat to our nation” and that the United States had been drawn into the conflict through “pressure from Israel and its powerful American lobby.”
“I cannot support sending the next generation off to fight and die in a war that serves no benefit to the American people nor justifies the cost of American lives,” Kent wrote in a letter addressed to President Trump. “I pray that you will reflect upon what we are doing in Iran, and who we are doing it for.”
Trump, speaking in the Oval Office, dismissed Kent’s concerns, telling reporters that he had long believed the counterterrorism director — whom he nominated to the post in February 2025 — was “very weak on security.” The president insisted that Iran has been a threat to the U.S. “for a long time,” and said that it was a “good thing” Kent is leaving.
The resignation came at an uncertain moment for the administration. The war, which has repeatedly been sold to Americans as “short term” and contained, is now in its third week, with fraying alliances, renewed missile and drone fire on gulf Arab nations from Iran, new Israeli strikes on Iran and Lebanon, mounting casualties and no clear exit strategy.
“If we left right now it would take 10 years for them to rebuild,” Trump told reporters. “We’re not ready to leave yet, but we’ll be leaving in the near future. We’ll be leaving pretty much in the very near future.”
The uncertainty was compounded Tuesday by Israel’s killing of Ali Larijani, the head of Iran’s Supreme National Security Council, as well as Gholamreza Soleimani, the head of the Basij, Iran’s militia force.
Trump made reference to the Iranian officials killed without naming them, saying one was “their actual top” and the other was responsible for the killing of 32,000 Iranian protesters in recent weeks.
“It’s an evil group,” he said.
Effect of Larijani’s killing
Iranian officials confirmed the deaths of Larijani and Soleimani via state media Tuesday. In addition to killing the Basij leader, Israel reported striking more than 10 Basij posts, part of an effort to destroy the Islamic Republic’s ability to contain internal unrest and protests.
Benjamin Radd, a political scientist and senior fellow at the UCLA Burkle Center for International Relations, said Larijani’s killing would greatly diminish the Iranian diplomatic and institutional experience, as he was perceived to be “the last of the competent bunch” in power.
Those remaining in power are “generally not the sharpest people, they’re not the people who understand the subtleties of diplomacy, of what negotiating with the U.S. is like,” which clears a path for “a country run by a military junta” comprising Islamic Revolutionary Guard Corps leaders, Radd said.
“We’re really going to be moving more toward a military-style dictatorship — behind a clerical robe, if you will,” he said.
The battlefield developments have done little to reassure Washington’s closest allies, most of which have declined to join the fight despite Trump’s recent pleas to allied nations to send warships to help reopen the Strait of Hormuz, a crucial oil route that has been threatened by Iran’s war efforts.
In a social media post Tuesday, Trump said the United States had been informed by most of its allies in the North Atlantic Treaty Organization that they “don’t want to get involved” in the expanding Middle East war — and he claimed the American military no longer needs or wants their help.
“In fact, speaking as President of the United States of America, by far the Most Powerful Country Anywhere in the World, WE DO NOT NEED THE HELP OF ANYONE!” Trump wrote.
Trump cannot unilaterally remove the U.S. from NATO. In 2023, Sens. Tim Kaine (D-Va.) and Marco Rubio (R-Fla.) — who is now Trump’s secretary of State — successfully pushed a measure barring any president from removing the U.S. from the treaty organization without approval from the Senate or an act of Congress.
“The Senate should maintain oversight on whether or not our nation withdraws from NATO. We must ensure we are protecting our national interests and protecting the security of our democratic allies,” Rubio said at the time.
Some experts viewed Trump’s latest remarks about not needing NATO allies as a result of him having misplayed his hand at the start of the conflict with Iran, which has attempted to widen the war by targeting Gulf Cooperation Council nations in the region.
When Trump started demanding that many other nations join the U.S. in the war effort, or at least in safeguarding the Strait of Hormuz, it was “an attempt on Trump’s side to widen the war the other way,” Radd said, based in part on the fact that other nations, including China and in Europe, are much more reliant on oil from the region than the U.S.
However, it was a “clumsy” move by Trump given his alienation of NATO allies in the past, including during a major speech in Davos, Switzerland, in January, in which the president was “basically shaming and criticizing NATO and European states,” Radd said.
Calling on allies to “step up” after ridiculing them was “ham-handed,” Radd said.
Intelligence official’s departure
In Washington, Kent’s resignation exposed new divisions over the administration’s handling of the war.
On Capitol Hill, House Speaker Mike Johnson (R-La.) told reporters that he did not know where Kent was “getting his information” to conclude that Iran posed no imminent threat to the U.S. He said Trump administration officials in classified briefings have asserted that “they had exquisite intelligence and they understood that this was a serious moment for us.”
“The president felt that he had to strike first to prevent mass casualties,” Johnson said.
Several Democrats called on Kent to appear before Congress and tell the American people more about why the administration dragged the U.S. into war in Iran.
“If even officials like Joe Kent do not believe Iran posed an imminent threat, why are we sending more Americans to die in this war?” Rep. Ro Khanna (D-Fremont) wrote on X.
White House Press Secretary Karoline Leavitt said Kent’s letter contained “many false claims,” including that Iran posed no imminent threat to the U.S.
“This is the same false claim that Democrats and some in the liberal media have been repeating over and over,” Leavitt wrote on X. “As President Trump has clearly and explicitly stated, he had strong and compelling evidence that Iran was going to attack the United States first.”
She said that evidence, which has never been detailed publicly, “was compiled from many sources and factors,” and that Trump “would never make the decision to deploy military assets against a foreign adversary in a vacuum.”
Leavitt then repeated past justifications for the attack, including that Iran sponsors terrorism abroad and that it was building out its missile capabilities as “a shield” for protection as it continued to develop nuclear capabilities.
The press secretary previously said that Trump had a “feeling” that Iran was going to attack the U.S. or its assets. The president has alleged, without evidence, that Iran was within weeks of having a nuclear weapon.
Leavitt said the added assertion by Kent that Trump decided to attack Iran “based on the influence of others, even foreign countries, is both insulting and laughable.”
Kent, a former political candidate with connections to right-wing extremists, was confirmed in July as head of the National Counterterrorism Center, which analyzes and detects terrorist threats. Before joining the Trump administration, Kent ran two unsuccessful campaigns for Congress in Washington state. He also served in the military, serving 11 deployments as a Green Beret, followed by work at the CIA.
Democrats strongly opposed Kent’s confirmation in the Senate, in part because they were concerned about his ties to far-right figures and promotion of conspiracy theories. During his 2022 congressional campaign, Kent paid Graham Jorgensen, a member of the far-right military group the Proud Boys, for consulting work. He also worked closely with Joey Gibson, the founder of the Christian nationalist group Patriot Prayer, and attracted support from a variety of far-right figures.
During his Senate confirmation hearing, Kent refused to distance himself from a conspiracy theory that federal agents instigated the Jan. 6, 2021, attack at the U.S. Capitol, as well as false claims that Trump, a Republican, won the 2020 election over Democrat Joe Biden.
Democrats grilled Kent on his participation in a group chat on Signal where Trump’s national security team discussed sensitive military plans.
Republicans, meanwhile, were drawn to Kent’s experience in the military and intelligence.
Sen. Tom Cotton (R-Ark.), the GOP chair of the Intelligence Committee, said in a floor speech that Kent had “dedicated his career to fighting terrorism and keeping Americans safe.” On Tuesday, Cotton said that he disagreed with Kent’s “misguided assessment” on Iran.
“Iran’s vast missile arsenal and support for terrorism posed a grave and growing threat to America. Indeed, the ayatollahs have maimed and killed thousands of Americans,” Cotton said. “President Trump recognized this threat and made the right call to eliminate it.”
Other conservatives — including former Rep. Marjorie Taylor Greene and commentator Candace Owens — called Kent an “American hero.”
Ilan Goldenberg, a former Biden administration official who dealt with the Middle East, wrote on X that while he disagrees with the Iran war, Kent claiming that Israel pressured Trump into the conflict is “ugly stuff that plays on the worst antisemitic tropes.”
“Donald Trump is the President of the United States and he is the one ultimately responsible for sending American troops into harms way,” he said.
PHOENIX — The first pitch of the Dodgers’ 2026 season won’t capture the exuberance of the last pitch of 2025. But it will be meaningful in its own right, as the official first step of the team’s quest for a third straight championship.
How poetic that the same arm should deliver both pitches.
“It’s an honor for me,” Dodgers opening day starter Yoshinobu Yamamoto said Tuesday through interpreter Yoshihiro Sonoda. “And then it’s opening day at a Dodger Stadium home game, and that’s very [much an] honor to me. I also feel the responsibility.”
Yamamoto is scheduled to make one more Cactus League start, against the Padres on Friday, before taking the Dodger Stadium mound next Thursday when the Diamondbacks come to town. It will be the second opening-day start of Yamamoto’s MLB career, and his first at home.
It will also mark the end of a whirlwind offseason and spring training for Yamamoto, who not only shouldered a demanding postseason workload, but also navigated an especially quick turnaround to pitch for Team Japan in the World Baseball Classic.
“It’s hard to put into words,” manager Dave Roberts said. “He is just very driven, he’s very disciplined in his work. That’s some of the things that allows him to compete at a high level. Where most people would feel that you win the World Series MVP, you don’t have enough to pitch in the WBC. He wanted to pitch for his country, and now he’s really excited about the start of 2026.
“He is a very determined person. He really is. We’re just lucky he’s on our team.”
No one needs to be reminded that Yamamoto was a playoff hero last year, but let’s really break down his efforts.
On Oct. 14, Yamamoto made his third start of the postseason and threw a complete game against the Brewers to put the Dodgers ahead 2-0 in the NL Championship Series.
Eleven days later, he tossed another nine innings to help the Dodgers even the series against the Blue Jays. And he wrapped up the World Series with appearances on back-to-back days, starting Game 6 and finishing Game 7.
Yamamoto threw 526 pitches in the postseason, 235 in the World Series alone, and he still touched nearly 97 mph in his final inning of work.
Most pitchers would need at least a full offseason to recover. When Blake Snell slow-played his offseason because of lingering shoulder discomfort after the World Series run, the decision made all the sense in the world.
Yamamoto, however, was already pitching in meaningful games by March 6.
In Yamamoto’s first start of the WBC, he held Chinese Taipei hitless for 2 ⅔ innings. Then in the quarterfinal game against Venezuela last Saturday, he surrendered a leadoff homer to Ronald Acuña Jr. and a second-inning RBI double to Gleyber Torres before settling in for two scoreless innings. The eventual 8-5 loss eliminated Team Japan from the WBC.
“As Team Japan, the result was not what we were aiming for,” Yamamoto said. “But at a personal level, my condition was good.”
The season will be the true test for Yamamoto’s training methods, which have been infamous since before his transition from Japan’s Nippon Professional Baseball, and are already spreading across the Dodgers’ clubhouse. Look no further than shortstop Mookie Betts this week lauding the effects of throwing a javelin.
If they continue to work, Yamamoto could be in the running for the Cy Young Award, after finishing third in National League voting last year.
“There’s high competition, there are a lot of great pitchers out there,” Yamamoto said, “but I hope that I get there.”
Yamamoto’s offseason work, however, wasn’t simply geared toward getting to opening day or winning an individual award. He knows as well as anyone that this team has set a high bar with back-to-back championships.
“The same goal,” Yamamoto said of 2026, “winning a world championship with this team.”
Now over four months removed from that final pitch of the 2025 World Series, one lesson has stuck with Yamamoto.
“I learned how difficult [it is] to get one win,” he said. “As a team, I want to be able to share that joy.”
SIR David Beckham was just miles from his estranged son Brooklyn in LA on Monday — but the pair failed to meet.
Insiders said Becks, 50, was in the US city for work following a ski break in Canada with son Romeo.
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David and Romeo Beckham on a ski break in CanadaCredit: InstagramNicola Peltz shared this black and white photo of her and BrooklynCredit: InstagramThe pair were at Sir Elton John’s Aids Foundation Oscars viewing party on SundayCredit: Getty
A source said: “David was in Los Angeles for a new ad campaign, but given Brooklyn’s decision to cut off his family, there was no meeting between them.
“David had just come back from a ski trip with Romeo and friends in Canada when he flew to Los Angeles for work.
“Brooklyn would have just been miles away from him in the house he shares with Nicola.”
In October insiders confirmed Brooklyn had no interest in making amends with his family.
By January he was communicating with them through lawyers.
Days later, Brooklyn released a bombshell statement confirming the story.
Brooklyn and father David snapped in 2019, before their bombshell falloutCredit: Getty
He went on to make allegations against his family, including claiming fashion designer Victoria had “hijacked” his first dance with Nicola at their wedding in 2022.
On the track, Cruz sings: “Loneliest boy, mama don’t talk too much. It’s breaking her heart.
“It shows in the small things that you don’t do.
“I guess in the end that it’s you, yourself, and you.
“Tell me how do you live, when you’ve got nobody to lose?”
The Beckham clan and Nicola pre feudCredit: Splash
Brooklyn and wife Nicola were all smiles when they were invited by his godfather Sir Elton to be guests at his Oscars bash in Los Angeles on Sunday night.
Yesterday, Nicola shared a series of pictures of the night on her Instagram, including a black and white photo of her and Brooklyn.
She wrote: “What a beautiful evening for such an important cause. Thank you for having us Elton John and David Furnish, we love you both so much.”
On Sunday, Brooklyn’s social media followers rounded on him after he shared photos of mother-in-law, Claudia Peltz, who had celebrated her 71st birthday a few days earlier.
His post coincided with Mother’s Day. Mum Victoria shared tributes from Romeo, Cruz and Harper on Instagram, but fans noted there was no message from Brooklyn.
Those close to Brooklyn and Nicola said there was no going back in the feud with his parents.
A source said: “Brooklyn has said his piece. He is done. Moving on with his life with Nicola is his priority now.”
United States President Donald Trump has called for a naval coalition to deploy warships to secure the Strait of Hormuz, through which one-fifth of world oil shipments transit, as oil markets reel from supply disruptions caused by the US-Israeli war with Iran.
What is essentially the closure of the Strait of Hormuz by Iran in response to the attacks by the US and Israel has sent oil prices soaring to more than $100 per barrel.
Iran’s new supreme leader, Mojtaba Khamenei, has promised to keep the maritime artery closed while another top official in Tehran warned that oil prices could shoot up beyond $200 per barrel.
Trump said he hoped a naval coalition could secure the vital waterway, which connects the Gulf to the Gulf of Oman and the Arabian Sea. Iran has struck more than a dozen ships trying to sail through the narrow waterway since the hostilities started two weeks ago.
But will Trump’s solution work?
A tanker sits at anchor in Port Sultan Qaboos in Muscat, Oman, as oil shipments through the Strait of Hormuz have plummeted [File: Benoit Tessier/Reuters]
What has Trump said?
The US president has been facing domestic pressure over starting the war alongside Israel with no endgame or off-ramps in sight.
“On the strait of Hormuz, they had NO PLAN,” US Democratic Senator Chris Murphy wrote in a post on X. “I can’t go into more detail about how Iran gums up the Strait, but suffice it [to] say, right now, they don’t know how to get it safely back open.”
After threatening to bomb Iran more, Trump called on China, France, Japan, South Korea and the United Kingdom to send warships to secure the strait.
Trump claimed “100% of Iran’s military capability” had already been destroyed but added that Tehran could still “send a drone or two, drop a mine, or deliver a close-range missile somewhere along, or in, this waterway”.
“Hopefully China, France, Japan, South Korea, the UK, and others, that are affected by this artificial constraint will send ships to the area so that the Hormuz Strait will no longer be a threat by a nation that has been totally decapitated,” Trump wrote in a post on his Truth Social platform.
“In the meantime, the United States will be bombing the hell out of the shoreline, and continually shooting Iranian Boats and Ships out of the water. One way or the other, we will soon get the Hormuz Strait OPEN, SAFE, and FREE!”
Not long after, Trump returned to the keyboard, extending the invitation to all “the Countries of the World that receive Oil through the Hormuz Strait” to send warships, adding that the US would provide “a lot” of support to those who participated.
Israeli soldiers walk by a billboard commissioned by the evangelical Christian group Friends of Zion during the US-Israel war on Iran in Tel Aviv, Israel [File: Nir Elias/Reuters]
What has Iran said?
Alireza Tangsiri, commander of the Islamic Revolutionary Guard Corps Navy, said in a statement that claims by the US about destroying Iran’s navy or providing safe escort for oil tankers were false.
“The Strait of Hormuz has not been militarily blocked and is merely under control,” he said in a statement.
Iranian Foreign Minister Abbas Araghchi later doubled down on this, saying the strait remained open to international shipping except for vessels belonging to the US and its allies.
“The Strait of Hormuz is open. It is only closed to the tankers and ships belonging to our enemies, to those who are attacking us and their allies. Others are free to pass,” Araghchi said.
Khamenei – son of the late Supreme Leader Ali Khamenei, who was killed on the first day of the US-Israeli strikes – suggested in his first statement since taking power that the Strait of Hormuz would remain closed to provide leverage for Iran during the conflict.
F-18 combat aircraft are parked on the deck of the USS Abraham Lincoln aircraft carrier in the Gulf of Oman near the Strait of Hormuz during a 2019 deployment [File: Ahmed Jadallah/Reuters]
What are the challenges in the Strait of Hormuz?
The strait, which is just 21 nautical miles (39km) wide at its narrowest point, is the only maritime passage into the Arabian Gulf (known as the Persian Gulf in Iran). Shipping lanes in the waterway are even narrower and more vulnerable to attacks.
It separates Iran on one side from Oman and the United Arab Emirates on the other.
In brief, there is no way in or out by sea when the Strait of Hormuz is closed.
Alexandru Hudisteanu, a maritime security expert who served 13 years in the Romanian navy, told Al Jazeera that in the type of coalition that Trump is hinting at, “interoperability is the biggest hurdle.”
“That’s the ability of cruises to work together or with different units and different doctrine when basic communication would be an issue,” he said.
Then, there is the geography of the Strait of Hormuz: “a very unforgiving environment to sail with this type of wartime threats”, Hudisteanu said. “Especially difficult under missile threats and these asymmetric potential mines or unmanned systems that could damage or destroy ships.”
Providing escorts to ships would be a costly option, and it would pose risks to participating foreign warships from possible Iranian attacks, which would likely further drag more countries into the ongoing war.
From Iran’s point of view, “the fact that the shoreline is so close and the actual maritime passage is highly congested and confined is an advantage by default,” Hudisteanu added. Geographically, Iran keeps it as a gauntlet, with no way out for the ships unless Tehran allows it.
Another major challenge for any naval coalition trying to secure the passage would be the timeline of any operation. ”The security of the strait could be achieved. It’s just a matter of how much time you need and how many assets you need,” the analyst said. Rushing through it “could have negative implications for the security of the mission and the region”.
Smoke rises from the Thai bulk carrier Mayuree Naree near the Strait of Hormuz after an attack on March 11, 2026 [Handout/Royal Thai Navy via AFP]
How have countries responded?
No country has so far publicly agreed to Trump’s call to send warships to secure the Strait of Hormuz.
London said it is “intensively looking” at what it can do to help reopen the maritime passage. British Energy Secretary Ed Miliband said: “We are intensively looking with our allies at what can be done because it’s so important that we get the strait reopened.”
Chinese Ministry of Foreign Affairs officials said Beijing is calling for hostilities to stop and “all parties have the responsibility to ensure stable and unimpeded energy supply.”
Japan said the threshold is “extremely high” to send its warships on such a mission. “Legally speaking, we do not rule out the possibility, but given the current situation in which this conflict is ongoing, I believe this is something that must be considered with great caution,” said Takayuki Kobayashi, policy chief of Japan’s ruling Liberal Democratic Party.
France also confirmed that it will not send ships. The Ministry for Europe and Foreign Affairs said in a statement on Saturday: “Posture has not changed: defensive it is,” in reference to President Emanuel Macron’s assertion that France will not join the war against Iran.
South Korea, which imports 70 percent of its oil from the Gulf, said it was “closely monitoring” Trump’s statements and “comprehensively considering and exploring various measures … to ensure the safety of energy transport routes”.
(Al Jazeera)
Are countries negotiating with Iran?
Some countries have been negotiating with Iran to secure passage for their petroleum shipments.
Two Indian-flagged tankers carrying liquefied petroleum gas (LPG) have sailed through the Strait of Hormuz. New Delhi depends on this passage for 80 percent of its LPG imports.
The war on Iran has caused a critical shortage of cooking gas for India’s 333 million households. New Delhi has long had ties with Iran, but the government of Prime Minister Narendra Modi has not condemned the killing of Ali Khamenei. It has condemned Iran’s retaliatory attacks on Gulf countries, where millions of Indian citizens work and send $51bn in remittances home every year.
Iran’s ambassador to India, Mohammad Fathali, said Tehran had allowed some Indian vessels to pass through the Strait of Hormuz in a rare exception to the blockade but did not confirm the number of vessels.
A Turkish-owned vessel was similarly granted permission last week after Ankara negotiated passage directly with Tehran. Fourteen more Turkish vessels are awaiting clearance.
France and Italy also reportedly opened talks with Iranian officials to negotiate a deal to allow their vessels through the strait, but there has been no official confirmation yet.
“Iran is affecting maritime supply,” Hudisteanu said. “It’s affecting the maritime security of the region and the entire ecosystem and bringing the entire world to the table as the global price for oil and gas increases.”
BERLIN — Juergen Habermas, whose work on communication, rationality and sociology made him one of the world’s most influential philosophers and a key intellectual figure in his native Germany, has died. He was 96.
Habermas’ publisher, Suhrkamp, said he died on Saturday in Starnberg, near Munich.
German Chancellor Friedrich Merz said that “Germany and Europe have lost one of the most significant thinkers of our time.”
Merz said that “his sociological and philosophical work had an impact on generations of researchers and thinkers.” He praised “Habermas’ intellectual forcefulness and his liberality” and said in a statement that “his voice will be missed.”
Habermas frequently weighed in on political matters over several decades. His extensive writing crossed the boundaries of academic and philosophical disciplines, providing a vision of modern society and social interaction. His best-known works included the two-volume “Theory of Communicative Action.”
Habermas, who was 15 at the time of Nazi Germany’s defeat, later recalled the dawn of a new era in 1945 and his coming to terms with the reality of Nazi crimes as something without which he wouldn’t have found his way into philosophy and social theory. He recalled that “you saw suddenly that it was a politically criminal system in which you had lived.”
He had an ambivalent relationship with the left-wing student movement of the late 1960s in Germany and beyond, engaging with it but also warning at the time against the danger of what he called “left-wing fascism” — a reaction to a firebrand speech by a student leader that he later said was “slightly out of place.” He would later recognize the movement as having driven a “fundamental liberalization” of German society.
In the 1980s, Habermas was a prominent figure in the so-called Historians’ Dispute, in which Berlin historian Ernst Nolte and others called for a new perspective on the Third Reich and German identity. They tended to compare what happened under Adolf Hitler to atrocities carried out by other governments, such as the deaths of millions in the Soviet Union under Josef Stalin. Habermas and other opponents contended that the conservative historians were trying to lessen the magnitude of Nazi crimes through such comparisons.
Habermas supported the rise to power of center-left Chancellor Gerhard Schroeder in 1998. He was critical of the “technocratic” approach and perceived lack of political vision of Schroeder’s conservative successor, Angela Merkel, complaining in 2016 of the paralyzing effects on public opinion of “the foam blanket of Merkel’s policy of sending people to sleep.”
He was particularly critical of the “limited interest” shown by German politicians, business leaders and media in “shaping a politically effective Europe.” In 2017, he praised newly elected French President Emmanuel Macron for laying out of plans for European reform, saying that “the way he speaks about Europe makes a difference.”
Habermas was born on June 18, 1929, in Duesseldorf and grew up in nearby Gummersbach, where his father headed the local chamber of commerce. He became a member of the Deutsches Jungvolk, a section of the Hitler Youth for younger boys, at 10.
He was born with a cleft palate that required repeated operations as a child, an experience that helped inform his later thinking about language.
Habermas said he had experienced the importance of spoken language as “a layer of commonality without which we as individuals cannot exist” and recalled struggling to make himself understood. He also spoke of the “superiority of the written word,” and said that “the written form conceals the flaws of the oral.”
His wife, Ute Habermas-Wesselhoeft, died last year. The couple had three children: Tilmann; Rebekka, who died in 2023; and Judith.
MICHAEL B. Jordan has been dreaming of landing Oscars glory since he was 15-years-old, but there were fears his career was over before it began.
In-demand Jordan heads to the Academy Awards on Sunday in line to land the coveted Best Actor award for supernatural horror movie Sinners, which has been nominated for a record-breaking 16 gongs.
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Michael B. Jordan (far right) was just 15 when he starred in the first season of HBO’s The Wire alongside JD Williams (second from left)Credit: AlamyJordan is hoping to land an Oscar for best actor for his dual role in SinnersCredit: Shutterstock Editorial
But in an exclusive interview with The U.S. Sun, childhood pal JD Williams — who starred alongside a teenage Jordan in HBO’s iconic cop drama The Wire — says his bloody exit in the show had the young actor doubting his future.
Williams played local dealer and gang member Bodie, taking Jordan’s unassuming, drug-running character of Wallace under his wing.
Yet when the bosses, led by Hollywood star Idris Elba as the notorious Stringer Bell, suspected Jordan was speaking to cops, Williams was told to execute him.
With the actors only given their scripts days before a shoot, the Creed star had no idea his breakout role was soon to be over.
It was a heartbreaking end to the first season, and left a young Jordan worried about his career ending abruptly.
“None of us knew where the story was going,” Williams told The U.S. Sun. “You only get your scripts week to week. When he saw that he was getting killed off, he literally thought he wasn’t going to work again.
“I told him, ‘Look, everybody loves you already. When this happens, people are going to look up Wallace’s real name. When they find out it’s Michael B. Jordan, they’re going to look for you in everything.’”
Williams, 48, and Jordan, 39, grew up in Newark, New Jersey, and both attended Arts High School.
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While many of the actors in The Wire were cleverly drawn from the gritty streets of Baltimore, trained actors such as Elba, the late Michael K. Williams, who played hustler Omar, as well as Jordan and his pal Williams, helped elevate the five-series masterpiece to the next level.
Jordan came into the show off the back of the 2001 sports drama Hardball, starring Keanu Reeves.
He was very much learning his trade when he met Williams and his fellow co-stars for the first time.
Yet going up against the A-listers Timothee Chalamet and Leonardo DiCaprio for an Oscar illustrates just how far Jordan has come since those early, nervy days.
“I had already heard about him because he had done Hardball, and I was proud of him for that,” Williams recalled. “Then to find out he was on the same series I was doing, I was like, ‘Wow — a kid from exactly where I’m from and we’re doing this together.’”
The two actors quickly formed a bond on set.
They hung out together, playing PlayStation and traveling to Las Vegas and Miami when not filming.
Their friendship has remained strong ever since.
“I would say he’s probably the most organic actor — star actor — out there,” Williams, a prominent and memorable character in The Wire who was eventually killed off himself after 34 episodes, said. “There’s minimal fakeness in him, minimal shade.”
If Jordan wins the best actor award, he will become the first character from writer David Simon’s critically acclaimed show to be crowned by the Academy.
“Someone from our class had to get it, if Michael K. Williams were still alive, I think he would have been in this position too, but I’m so proud it’s Mike,” said his old friend. “There’s no scandal with him. It’s deserved.”
Williams went on to star in prison drama Oz, is working on numerous independent projects, has also appeared in Starz drama BMF, and now relishes helping guide the next generation of actors.
Jordan, meanwhile, has steadily built one of the most successful careers of his generation, starring in films like Creed and portraying villain Killmonger in Marvel’s Black Panther.
Jordan was killed off at the end of the first season of The Wire and feared he may never work againCredit: AlamyJordan plays twin brothers in Sinners, which has been nominated for a record 16 awardsCredit: AP
Crucially, his longtime creative partnership with director Ryan Coogler, who was also behind Creed in 2015, has become one of the most influential collaborations in modern Hollywood.
No film has ever received more nominations than Sinners, in which Jordan masterfully plays a dual role as twin brothers Elijah and Elias.
The movie stormed this year’s Academy Awards with a record-breaking 16 nominations, surpassing the previous record of 14 shared by All About Eve, Titanic and La La Land.
Its dominance spans the biggest categories, including Best Picture, Best Director and Best Original Screenplay for Coogler — along with a Best Actor nomination for Jordan, his first at the Oscars.
The apocalyptic drama also earned acting nods for Delroy Lindo and Wunmi Mosaku, while racking up recognition across major craft categories including cinematography, editing, costume design and visual effects.
The record-setting 16th nomination came in the Academy’s brand-new Best Casting category, recognizing Francine Maisler’s work assembling the film’s ensemble.
Williams says he worked on a series of scripts and ideas with Jordan over the years, but admits the partnership with Coogler has helped his friend evolve as an actor and is why he now stands on the brink of greatness.
“Him and Ryan getting together is the perfect combination,” he said. “Having a director that is great to collaborate with is exactly what was needed.
“If you have a vision and you’re part of a class of actors coming up together, that’s what happens. They are the perfect combination.”
Jordan’s ability to deliver the performances his directors want is also key.
“If you give Mike direction, he gets it straight away,” Williams said. “He can go exactly where you need him to go and be what you need him to be in that moment.
“That’s the essence of acting — delivering the message to the audience.
“And he’s not just there to be handsome and pretty. Mike is writing, producing, directing. He understands the whole business.”
Biggest Oscar Nominees of 2026 Academy Awards
Everyone in Hollywood hopes to snag a nod on the industry’s biggest night but only few get that honor. Here are the nominees from the major categories of the 2026 Academy Awards:
Best Picture
Bugonia
F1
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
The Secret Agent
Sentimental Value
Sinners
Train Dreams
Best Director
Chloé Zhao — Hamnet
Josh Safdie — Marty Supreme
Paul Thomas Anderson — One Battle After Another
Joachim Trier — Sentimental Value
Ryan Coogler — Sinners
Best Actor (Leading Role)
Timothée Chalamet — Marty Supreme
Leonardo DiCaprio — One Battle After Another
Ethan Hawke — Blue Moon
Michael B. Jordan — Sinners
Wagner Moura — The Secret Agent
Best Actress (Leading Role)
Jessie Buckley — Hamnet
Rose Byrne — If I Had Legs I’d Kick You
Renate Reinsve — Sentimental Value
Emma Stone — Bugonia
Kate Hudson — Song Sung Blue
Best Supporting Actor
Benicio Del Toro — One Battle After Another
Jacob Elordi — Frankenstein
Delroy Lindo — Sinners
Sean Penn — One Battle After Another
Stellan Skarsgård — Sentimental Value
Best Supporting Actress
Teyana Taylor — One Battle After Another
Wunmi Mosaku — Sinners
Amy Madigan — Weapons
Elle Fanning — Sentimental Value
Inga Ibsdotter Lilleaas — Sentimental Value
Best Original Screenplay
Bugonia — Yorgos Lanthimos & Will Tracy
Marty Supreme — Josh Safdie & Ronald Bronstein
One Battle After Another — Paul Thomas Anderson
Sentimental Value — Joachim Trier & Eskil Vogt
Sinners — Ryan Coogler
Best Adapted Screenplay
Blue Moon — Richard Linklater & Glen Powell
Frankenstein — Guillermo del Toro
Hamnet — Chloé Zhao
The Secret Agent — Kleber Mendonça Filho
Train Dreams — Clint Bentley & Greg Kwedar
Best Animated Feature
Arco
KPop Demon Hunters
The Magnificent Life of Marcel Pagnol
Zootopia 2
The Night Gardener
Best International Feature Film
The Secret Agent — Brazil
Sentimental Value — Norway
It Was Just an Accident — Iran
Universal Language — Canada
Sujo — Mexico
Best Documentary Feature
The Alabama Solution
Come See Me in the Good Light
Four Daughters
No Other Land
The Perfect Neighbor
More than two decades after their time on The Wire, Williams says watching Jordan’s continued rise is deeply personal.
Their families remain close.
“I’m proud of my brother,” he said. “He’s been growing as an actor his entire life. But he’s deeper than that — he writes, he produces, he directs. He’s built himself into this system.
“I can’t explain how proud I am. Thinking back to us just sitting on my parents’ steps at my little sister’s birthday party — and now seeing where he is. The vision is unfolding exactly the way it was supposed to.”
But will he watch his old friend’s moment of destiny on Sunday night?
“When I don’t watch my team, they win. When I watch my team, it’s 50-50. And I don’t — I just don’t know, man,” he said with a huge smile.
“If it’s not this time, it’s going to be the next time. But of course I am behind my brother. I always will be.
“Chalamet is a great actor, but this is Mike’s year. If he wins, I’m going straight to his house. I don’t know if I’ll hug him or punch him in the stomach, but it’ll be a great feeling. He’s a great dude and I love him to death.
“We talked about this stuff while playing PlayStation years ago. Seeing it unfold meticulously — not as a fluke, but as a plan — is beautiful.”
JD Williams told The U.S. Sun about his time on The Wire with close friend Michael B. JordanCredit: GettyTimothee Chalamet is up against Jordan for best actor following his performance in Marty SupremeCredit: Reuters
It has been nearly three years since Hollywood writers went on a historic strike that lasted 148 days and ushered in an extraordinary period of labor unrest that virtually shut down the film and TV business.
Now, writers are poised to commence another round of bargaining with the major studios on a new three-year film and TV contract. Few observers think the union is girding for another showdown, especially at a time when many of its members are struggling to find work amid media consolidation and belt-tightening.
But in advance of negotiations that begin on Monday , union leaders are eager to dispel any perception that they might have scaled back their demands.
“Our members have shown many times that they’re willing to fight for what we need as a collective group,” WGA West President Michele Mulroney said in an interview. “And there’s no exception here.”
With its current contract expiring on May 1, the WGA hopes to improve its members’ healthcare plans, increase streaming residuals and expand AI protections.
Michele Mulroney speaks as the Screen Actors Guild (SAG-AFTRA) and Writers Guild of America (WGA) join GLAAD in releasing the 11TH Annual GLAAD Studio Responsibility Index at The Village at Ed Gould Plaza Los Angeles LGBT Center in Los Angeles, California, on September 14, 2023.
(Michael Tran/AFP via Getty Images)
Ellen Stutzman, the union’s executive director, said despite popular belief, the studios have weathered the transition from cable television to streaming “very well,” citing their efforts to maximize revenue with streaming bundling, rising subscription fees and advertising revenue.
“Writers are watching as Netflix and Paramount are fighting it out to acquire Warner Bros… Paramount is spending $81 billion,” said Stutzman. “There’s money for a fair deal for writers.”
The union leaders agree that this year’s negotiations are all focused on the sustainability of a writer’s career.
A spokesperson from the Alliance of Motion Picture and Television Producers, which represents the major studios in negotiations, said in a statement that they look forward “to engaging in a constructive and collaborative bargaining process with the WGA. Through continued good-faith dialogue, we are confident we can reach balanced solutions that support talented writers while sustaining the long-term success and stability of our industry and its workforce.”
A top priority for the WGA is to increase the caps that companies contribute to the union’s healthcare plan. Union officials say the current cap has remain unchanged for two decades as healthcare contributions have steadily declined due to fewer writers working.
“AI is using [studios’] IP, which is stuff that we wrote to license these models,” said John August, the co-host of the “Scriptnotes” podcast and WGA’s negotiating committee co-chair. “With the Sora deal, it seems clear that the companies intend to monetize this IP for use with AI.”
August says the union will be skeptical toward arguments that it’s still too early to seek more safeguards around such a nascent industry, citing the union’s past history with the rise of DVDs and the internet and how profoundly those technologies changed the compensation for writers.
“If you’re taking the work that we created to generate AI outputs, we are owed money. They’re using our work to do something down the road,” added August.
WGA’s negotiating committee also is looking to boost streaming residuals, expand the minimum number of people allowed in a writers’ room and add protections for scribes working on pilots.
“We very much hope that lessons were learned in 2023 and that the AMPTP will come to the table ready to take our proposal seriously and to make a fair deal, and to do that quickly,” Mulroney said. “It provides stability for the companies and for our membership. It’s better for everybody.”
WGA is entering contract negotiations nearly a month after the actors’ union, SAG-AFTRA, began its bargaining sessions. Last week, the AMPTP said it was extending negotiations another seven days.
The discount retailer is selling an affordable bag that could be used for multiple travel destinations
Home Bargains is selling a versatile bag (stock photo)(Image: Getty)
Home Bargains is selling a ‘durable’ backpack that’s said to be ‘perfect for city travel’. The bag could therefore impress a range of shoppers. It could be just the ticket for commuters looking for a bag that will survive the journey to work. It could also impress travel fans who spend their weekends exploring new cities or catching the train to the countryside.
The discount retailer is selling the Salisburys PU Leather Rucksack for £9.99 online and in stores. Shoppers can choose between two colours when shopping online, as Home Bargains offers the bag in purple and cream.
Showcasing the rucksack, the bargain chain wrote: “Discover the Salisburys PU Leather Rucksack in vibrant purple – a lightweight, stylish companion perfect for city travel with multiple zipped compartments and a durable, fully lined interior.” The description notes that the ‘stylish bag’ measures approximately H58 x W28 x D14.5cm.
Sharing more information about the brand, the retailer added: “Salisburys presents its broadest line-up of tried and tested luggage solutions with contemporary features to help the modern tourist navigate the hurdles of the twenty-first century travel.
“Salisburys PU Leather range gifts you with all the necessities for modern-day commuter/city travel in a lightweight yet durable form. A clean modern design and durable materials that have been tested to protect your possessions from the testing environments that your luggage may encounter.”
The product description explains: “Travel light and in style with the Salisburys Carry-On Cabin Lightweight Backpack in sleek black! Perfect for your adventures, this spacious yet compact backpack is designed for easy packing and effortless carrying.”
Meanwhile, the weekend bag might be the better pick for people travelling for one or two nights, who want the lightest luggage they can find. The description says: “Meet the Salisburys Weekend Bag, your ultimate travel companion! With its spacious design, handy trolley sleeve, and a zip-off bottom for easy packing, this stylish bag is perfect for weekend getaways or short trips.”
Another option for travellers could be the £9.99 Light Luggage Carry-On Cabin Luggage Wheeled Bag. The product description reads: “Travel light and breeze through the airport with the Light Luggage Carry-On Cabin Luggage Wheeled Bag!
“Its lightweight design, easy-glide wheels, and handy pockets mean you’ll skip the queues and arrive in style—just try not to look too smug!” While some shoppers prefer bags over cases, the added wheels could be helpful for people who don’t want to carry a bag but still need compact luggage.
A jury found Ye, the controversial music impresario formerly known as Kanye West, liable in the legal dispute brought by his former contractor and ordered him to pay $140,000.
Tony Saxon, who also worked as Ye’s security guard and caretaker at the Malibu property, sued the rapper in Los Angeles Superior Court in September 2023, claiming a slate of labor violations, nonpayment of services and disability discrimination.
The $140,000 judgment announced Wednesday is far less than the $1.7 million in damages that Saxon’s lawyers had originally requested. Ye will also have to pay for Saxon’s legal fees, which is expected to put the total sum that West will have to pay at more than $1 million.
Although Saxon’s attorneys at the Los Angeles-based firm West Coast Trial Lawyers called the verdict a “mixed” one, they characterized it as as a “vindication for our client.”
“Ye’s lawyers called him a liar, a fraud, and a malingerer in court. His medical records, bank records, and personal family history were dissected, mocked, and vilified,” said attorney Ronald Zambrano in a statement.
“In true David-vs.-Goliath fashion, Mr. Saxon stood firm against one of the biggest celebrities in the world, with the truth on his side,” Zambrano said.
Saxon alleged that while working as a security guard on the property, he was forced to sleep on the floor and was fired in November 2021 for failing to comply with Ye’s “dangerous requests.” He also said that he frequently complained to West about these and other issues, but that the rapper failed to address them.
In a statement, Ye’s spokesperson noted the jury had “rejected almost all of his [Saxon’s ] claims,” and that Saxon only recovered “a small fraction of what his lawyers demanded.”
“The jury also found that Saxon acted in the capacity of a contractor and did not qualify for the employee exception under California’s contractor licensing statutes,” according to the statement. “We believe the damages award is legally barred and we’ll be seeking post-trial relief from the court.”
Ye purchased the beachfront concrete mansion in 2021— designed by Pritzker Prize-winning Japanese architect Tadao Ando — for $57.3 million. He then gutted the property on Malibu Road, reportedly saying, “This is going to be my bomb shelter. This is going to be my Batcave.”
Three years later, the hip-hop star sold the unfinished mansion (he had removed the windows, doors, electricity and plumbing and broke down walls), at a significant loss to developer Steven Belmont’s Belwood Investments for $21 million.
In court filings Ye denied Saxon’s allegations. In a November 2023 response to the complaint, he disputed that Saxon “has sustained any injury, damage, or loss by reason of any act, omission or breach by Defendant.”
In January, Ye sued Saxon and his law firm over a $1.8 million lien placed on the Malibu mansion, alleging they “wrongfully” placed an “invalid” lien on the property “while simultaneously launching an aggressive publicity campaign designed to pressure Ye, chill prospective transactions, and extract payment on disputed claims already being litigated in court.”
The Malibu mansion that Ye purchased and gutted was later purchased and restored to its original design.
(The Oppenheim Group / Roger Davies)
That case is pending.
Ye’s spokesperson said the lien “clouded the home’s title and interfered with its sale, destroying substantial value at the time of sale.”
In recent years, the mercurial superstar has faced a number of public and legal dramas.
In 2022, Ye lost numerous lucrative partnerships with companies like Adidas and the Gap, following a raft of antisemitic statements, including declaring himself a Nazi on X (which he later recanted).
Two years later, Ye abruptly shut down Donda Academy, the troubled private school he founded in 2020.
Ye, the school and some of his affiliated businesses faced multiple lawsuits from former employees and educators, alleging they were victims of wrongful termination, a hostile work environment and other claims.
In court filings, Ye has denied each of the claims made against him by former employees and educators at Donda.
She simply kept showing up for it anyway, through the long and often anonymous slog of the professional tour.
Now 32 and the oldest player in the top 10, Pegula is having her best season start yet.
The fifth-ranked American reached the Australian Open semifinals for the first time in January, falling to eventual champion Elena Rybakina. She followed that by capturing the Dubai 1000-level tournament, just a rung below the majors.
She is 15-2 so far in 2026, tied with Victoria Mboko in match wins and second only to Ukraine’s Elina Svitolina (17-3), who she defeated 6-2, 6-4 in the Dubai final.
Pegula is guaranteed to emerge from this week’s BNP Paribas Open in Indian Wells as the top-ranked American, overtaking No. 4 Coco Gauff, if she reaches the final.
Jessica Pegula kisses the Dubai trophy after defeating Elina Svitolina in the finals on Feb. 21.
(Altaf Qadri / Associated Press)
First, she will have to get past No. 12-seed Belinda Bencic of Switzerland, her fourth-round opponent on Wednesday. Bencic has not dropped a set in four previous meetings with Pegula.
“That will be a challenge for me,” said the characteristically even-keeled Pegula after defeating former French Open champion Jelena Ostapenko in the third round on Monday.
A late bloomer, Pegula has taken the long road.
She failed to qualify for Grand Slam main draws in 12 of 14 attempts from 2011 to 2018, and didn’t reach the third round at a major until the 2020 U.S. Open at age 26. All three of her Grand Slam semifinal runs — along with her 2024 U.S. Open final — have come after she turned 30.
Pegula said this week that her patience and persistence stem from “always being a little more mature for my age even when I was younger.”
“I think as I’ve gotten older, your perspective changes as well,” she added.
Pegula, whose parents are principal owners of the NFL’s Buffalo Bills and the NHL’s Buffalo Sabres, acknowledges that her wealthy family background can cut two ways.
Financial security offers freedom to push through the sport’s early years on tour, when results are uncertain and the grind is relentless. That same cushion might make it easier to walk away if the climb becomes too frustrating.
Jessica Pegula plays a backhand against Donna Vekic during their match at the BNP Paribas Open at Indian Wells.
(Clive Brunskill / Getty Images)
Pegula says her motivation to pursue tennis came well before her family’s fortune grew.
“I’ve been wanting to be a professional tennis player and No. 1 in the world since I was like 7,” she said in a small interview room after beating Ostapenko this week.
“It’s a privilege, but at the same time I don’t want to do myself a disservice of not taking the opportunity as well,” she explained. “I’ve always looked at it that way.”
In the last few seasons, that maturity on the court has dovetailed with a growing leadership role off it.
Pegula has served for years on the WTA Player Council and was recently tapped to chair the tour’s new Tour Architecture Council, a working group tasked with examining the increasingly demanding schedule and structural pressures players say have intensified in recent seasons. The panel is expected to explore changes that could reshape the calendar and player workload in coming years.
Pegula said she hadn’t put up her hand to be involved but agreed after several players approached her to take the lead role — though she declined to say who they were.
“I think maybe as you mature … you realize how important it is to give back to the sport,” she said last week.
Life has also provided grounding and a wider lens.
The Buffalo native and Florida resident also married businessman Taylor Gahagen in 2021. Gahagen helps “holds down the fort” at home with the couple’s dogs and travels with her when possible. He is with her in Indian Wells.
“I have an amazing support system,” Pegula says.
Despite winning 10 WTA singles titles, achieving a career singles high of No. 3 in 2022 and the No. 1 doubles ranking, Pegula’s low-key demeanor means she flies a bit under the radar.
She’s not one for fashion statements, outlandish antics or attention-seeking initiatives, her joint podcast with close friend Madison Keys notwithstanding.
Instead, Pegula tends to go about her business quietly, relying on a calm temperament and a methodical style that wears opponents down over time.
She gets the job done — the Tim Duncan of the women’s tour.
“She’s just all about lacing them up and competing between the lines, and then trying to be as big an asset as she can to her peers off the court,” says Mark Knowles, the former doubles standout who has shared coaching duties with Mark Merklein since early 2024.
“I think one of her great attributes is she’s very level-headed,” Knowles adds. “She doesn’t get too high, doesn’t get too low.”
Her tennis identity echoes her steadiness.
Instead of bludgeoning opponents with power, the 5-foot-7 Pegula beats them with savvy, steadiness and tactical variety. A careful student of the game, she studies matchups and patrols the court with a composed efficiency that incrementally drains big hitters and outmaneuvers most rivals long before the final score confirms it.
Keys calls that consistency her “superpower.”
“She doesn’t lose matches that she shouldn’t lose,” the 2025 Australian Open champion said this week.
Because of injuries in the early part of her career, Knowles says Pegula might have less wear-and-tear than other players her age. And he and her team have prioritized rest and recovery, which included the decision to skip the tournament in Doha last month following her tiring Australian Open run.
On brand, there was no panic in Pegula after dropping the first set in her two matches so far at Indian Wells. As she’s done all season, she steadied herself to earn three-set wins.
Bucket-list goals remain, however. Chiefly, capturing a Grand Slam title.
Jessica Pegula returns a shot to Jelena Ostapenko during the BNP Paribas Open in Indian Wells on Monday.
(Matthew Stockman / Getty Images)
Pegula jokes that she briefly interrupted a run of American female success when she fell in the 2024 U.S. Open final to No. 1 Aryna Sabalenka. But seeing close friend and teenage phenom Keys capture her major in Melbourne last year — after many wondered if her window had passed — hit closer to home.
“I think Madison winning Australia just motivated me even more,” Pegula says.
Although Pegula believes she is among the best hardcourt players in women’s tennis, that confidence hasn’t translated into success in the California desert. She has reached the quarterfinals just once in 10 previous appearances in Indian Wells.
“Why not try and add that one to the resume?” says Knowles, noting that she had never won the title in Dubai until last month. “She’s playing still at a very high level.”
Pegula says the key to keeping things fresh is maintaining her love of the game by continuing to improve and experiment with new ideas, a process that keeps her engaged mentally and eager to compete.
“I’m not afraid to kind of take that risk of changing and working on different things,” she says, “which just keeps my mind working and problem solving.”
For a player who never needed tennis, she remains determined to see how much more it can give her.
