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Republicans are licking their wounds after Tuesday’s ballot box defeats. But there is a lesson to be learned here. The various elections in New York City, New Jersey and Virginia, viewed collectively, reminded us yet again of a perennial political truth: Americans still care first and foremost about their wallets.

Culture war-type issues often generate the most salacious headlines — and many of the Trump administration’s fights on these fronts, such as immigration enforcement and higher education reform, are just and necessary. Still, the economy remains the top political issue. Unless Republicans get more serious about advancing an actionable economic agenda to provide real relief to middle- and working-class Americans, the party risks losing even more ground in next year’s midterm elections.

When voters went to the polls in New York City, New Jersey and Virginia, they were often asking the simplest, most urgent questions: Can I pay the rent? Can I fill up my truck at the pump? Can I fill the fridge? Will my job still exist next year? Do I have reliable healthcare for my children? Across too many districts and communities, those answers remain uneasy. Inflation, while well down from its Biden-era peak, is still stubbornly higher than the Fed’s 2% target. Purchasing power is still eroded, and cost-of-living anxieties persist for far too many.

For Republicans, this is both a warning and an opportunity. Despite a concerted effort in recent years to rebrand as the party of the common man, including but hardly limited to Teamsters President Sean O’Brien getting a coveted speaking slot at last year’s Republican National Convention in Milwaukee, too many voters still associate the GOP with tax cuts for the donor class and a general indifference toward the tens of millions of Americans who live paycheck to paycheck. That’s the blunt truth. The perception of corruption in some of the highest corridors of power in Washington, especially when it comes to the influence wielded by the über-wealthy emirate of Qatar, doesn’t exactly assuage voters’ concerns.

If the GOP wants to regain the public’s trust, it must present a compelling vision of what a sound conservative economic stewardship entails in the 21st century.

That redefinition begins with a renewed focus on work, dignity and resilience. The Republican Party must build an economic narrative that centers on taming inflation, boosting wages, rebuilding America’s industrial base and greater healthcare security for the paycheck-to-paycheck class. Conservatives should pursue a pragmatic economic nationalism — one that ties together trade policy, manufacturing, energy production, workforce development and family formation. All proposed economic policies must be explained in concrete, local terms. The relevant questions each and every time should be: How does this policy tangibly benefit the average American, and how can the policy be messaged so that the benefit is clearly understood?

The voters Republicans need to reach are not tuning in to wonky policy seminars. They want results: lower energy bills, affordable groceries, job security and an economy that rewards hard work. The GOP must speak directly to these priorities with honesty and humility.

If economic anxiety persists through next fall’s midterms, voters will punish whichever party appears more indifferent to their struggles. The Trump administration and Republicans across the country need to get to work fast. That means more Trump-signed executive orders, within the confines of the law, that can provide real economic relief and security to the working men and women of America. And it certainly means a concerted congressional attempt to bolster the economic prospects of the middle and working classes, perhaps through the Senate’s annual budget reconciliation process.

Inflation must finally be tamed — including the Fed raising interest rates, contra Trump’s general easy-money instincts, if need truly be. Private health savings account access must be expanded and the ease of acquiring private healthcare must finally be divorced from the particular circumstances of one’s employment. More jobs and supply chains must be reshored. Concerns about child care affordability and parental leave availability must be addressed. And even more of our bountiful domestic energy must be extracted. These are just some of the various policies that voters might reward at the ballot box next fall.

Our searing cultural battles will continue — and they matter, greatly in fact. But when a family can’t afford its groceries or gas, such debates tend to fade into the background. Republicans must rebuild trust with voters on the most fundamental issue in American politics: the promise of economic opportunity and security.

It’s always dangerous to over-extrapolate and glean clear national lessons from a few local elections. But all three of the biggest recent races — for New York City mayor and for New Jersey and Virginia governors — had final winning margins for Democrats greater than most polling suggested. That seems like a clear enough rebuke. Accordingly, the Trump administration and Republicans across the country must deliver real economic results on the real economic issues facing the American people. If they don’t present a compelling economic vision and execute that vision capably and efficiently, there likely will be even greater electoral damage next fall.

That could all but doom the remainder of the Trump presidency. And what a disappointment that would be.

Josh Hammer’s latest book is “Israel and Civilization: The Fate of the Jewish Nation and the Destiny of the West.” This article was produced in collaboration with Creators Syndicate. X: @josh_hammer

The overriding questions remains, though. How long will O’Neill have to improve Celtic?

His return, alongside assistant Shaun Maloney, has brought back a feelgood factor but that was only going to last so long.

The laughs had over O’Neill’s matchday fit have faded, while Celtic’s deep-rooted problems have returned in stark fashion.

Captain Callum McGregor was at the heart of the happiness on Sunday, scoring in the extra-time win, but he was quick to assure no-one had got carried away.

“Nothing’s been solved after a really good game at the weekend,” the midfielder said after defeat in Denmark. “We know that we don’t get too up or too down.

“We come away here against a really good side, a good club, who do a lot of good things and they know what they are.

“There’s a lot of growth still left in our team as well. We know where we are and we know where we want to get to.”

It appears Celtic are far from the latter, and it’s lined up to be an almighty task to get them there, for whoever is charged with taking them there.

On a sobering night, it’s not the interim manager who will take the heat. It’s not even the players being taught by him.

It’s the board who have managed to quieten the clamour aimed in their direction for a few days with the reinstatement of O’Neill who will be feeling the pressure once more.

British actor Pauline Collins, who earned an Oscar nomination for her turn as the stuck-in-a-rut housewife of “Shirley Valentine,” has died. She was 85.

Collins’ family said in a statement Thursday that the actor died peacefully this week at her care home in north London after living with Parkinson’s disease for several years. In the statement, her family said Collins “was so many things to so many people, playing a variety of roles in her life.”

“A bright, sparky, witty presence on stage and screen,” the family described the versatile actor, whose career began in the 1960s.

Collins was well into her 40s when she starred in “Shirley Valentine,” a witty but disgruntled homemaker who accepts a girlfriend’s offer to travel to Greece to bring much-needed spice back to her life. “Sex for breakfast, sex for dinner, sex for tea and sex for supper,” Shirley proudly declares in the 1989 film, directed by Lewis Gilbert.

For Collins, “Shirley Valentine” was more than just an ode to womanhood, self-love and self-discovery. It was also a chance to challenge the conventions of aging in entertainment, including by shooting a nude scene for the film.

“My only sorrow was that I wasn’t younger and thinner,” a 49-year-old Collins told The Times in 1989. “But if I were Jamie Lee Curtis, I wouldn’t have been right for the part.”

“Shirley Valentine,” which also starred Tom Conti as her on-screen Greek lover and Alison Steadman as her friend, led Collins to receive her sole Academy Award nomination, a nod in the leading actress category. The film also received an original song Oscar nomination for Patti Austin’s “The Girl Who Used to Be Me,” written by Marvin Hamlisch and husband-wife lyricist duo Alan and Marilyn Bergman.

Two years before the film’s premiere, Collins originated the role of Shirley Valentine in London for Willy Russell’s one-woman play of the same name. That led to her Broadway debut in 1989 and a Tony Award for best actress in a play the same year. She also won accolades for the play at the Laurence Olivier Awards and a BAFTA for her work in the film adaptation.

Beyond “Shirley Valentine,” Collins was also known for appearing in dozens of TV series including “Upstairs, Downstairs,” “Forever Green,” “The Ambassador,” “Mount Pleasant” and “Dickensian.” She also appeared in films including “City of Joy,” “Paradise Road” and “You Will Meet a Tall Dark Stranger,” counting Patrick Swayze, Glenn Close, Frances McDormand, Antonio Banderas, Josh Brolin and Anthony Hopkins among her co-stars.

Throughout her decades-long screen career, Collins also continued her work in theater, including productions of “The Importance of Being Earnest,” “Woman in Mind” and “Cinderella.”

Collins, born in 1940, was raised near Liverpool by a schoolteacher mother and a headmaster father. She told The Times in 1989 that her dad “was one of the early feminists.”

“He had three daughters and always offered us everything that a boy would have — education and stuff,” she said. “[My parents] had a completely shared domestic situation, they both worked, cooked, did the washing. He even washed nappies [diapers] by hand.”

Her marriage to “Upstairs, Downstairs” co-star John Alderton — they married in 1969 — was not too different. “He just spent five months holding down the fort at home while I was on Broadway,” she recalled.

Alderton, 84, said Thursday that Collins’ “greatest performance was as my wife and mother to our beautiful children.”

While Collins was known for her scenic and romantic on-screen vacation to the Greek coast, she preferred a different kind of destination off-screen: St. Petersburg, Fla.

“It’s amazing, people think when you’re on your own you’re going off to have wonderful sexual adventures. Here I am, on my own, going off to Disney World,” she told The Times. “What does that say about me?”

The Associated Press contributed to this report.

When Xavier “X” Atencio was plucked by Walt Disney in 1965 to be one of his early theme park designers, he was slotted on a number of projects that placed him out of his comfort zone.

Atencio, for instance, never would have envisioned himself a songwriter.

One of Atencio’s first major projects with Walt Disney Imagineering — WED Enterprises (for Walter Elias Disney), as it was known at the time — was Pirates of the Caribbean. In the mid-’60s when Atencio joined the Pirates team, the attraction was well underway, with the likes of fellow animators-turned-theme park designers Marc Davis and Claude Coats crafting many of its exaggerated characters and enveloping environments. Atencio’s job? Make it all make sense by giving it a cohesive story. While Atencio had once dreamed of being a journalist, his work as an animator had led him astray of a writer’s path.

Atencio would not only figure it out but end up as the draftman of one of Disneyland’s most recognizable songs, “Yo Ho (A Pirate’s Life for Me).” In the process, he was key in creating the template for the modern theme park dark ride, a term often applied to slow-moving indoor attractions. Such career twists and turns are detailed in a new book about Atencio, who died in 2017. “Xavier ‘X’ Atencio: The Legacy of an Artist, Imagineer, and Disney Legend” (Disney Editions), written by three of his family members, follows Atencio’s unexpected trajectory, starting from his roots in animation (his resume includes “Fantasia,” the Oscar-winning short “Toot, Whistle, Plunk and Boom” and even stop-motion work in “Mary Poppins”).

For Pirates of the Caribbean, Atencio is said to have received little direction from Disney, only that the park’s patriarch was unhappy with previous stabs at a narration and dialogue, finding them leaning a bit stodgy. So he knew, essentially, what not to do. Atencio, according to the book, immersed himself in films like Disney’s own “Treasure Island” and pop-cultural interpretations of pirates, striving for something that felt borderline caricature rather than ripped from the history books.

Xavier “X” Atencio got his start in animation. Here, he is seen drawing dinosaurs for a sequence in “Fantasia.”

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Indeed, Atencio’s words — some of those quoted in the book, such as “Avast there! Ye come seeking adventure and salty old pirates, aye?” — have become shorthand for how to speak like a pirate. The first scene written for the attraction was the mid-point auction sequence, a section of the ride that was changed in 2017 due to its outdated cultural implications. In the original, a proud redheaded pirate is the lead prisoner in a bridal auction, but today the “wench” has graduated to pirate status of her own and is helping to auction off stolen goods.

At first, Atencio thought he had over-written the scene, noticing that dialogue overlapped with one another. In a now-famous theme park moment, and one retold in the book, Atencio apologized to Disney, who shrugged off Atencio’s insecurity.

“Hey, X, when you go to a cocktail party, you pick up a little conversation here, another conversation there,” Disney told the animator. “Each time people will go through, they’ll find something new.”

This was the green light that Atencio, Davis and Coats needed to continue developing their attraction as one that would be a tableau of scenes rather than a strict plot.

Tying it all together, Atencio thought, should be a song. Not a songwriter himself, of course, Atencio sketched out a few lyrics and a simple melody. As the authors write, he turned to the thesaurus and made lists of traditional “pirating” words. He presented it to Disney and, to Atencio’s surprise, the company founder promptly gave him the sign off.

“Yo Ho (A Pirate’s Life for Me),” Atencio would relay, was a challenge as the ride doesn’t have a typical beginning and ending, meaning the tune needed to work with whatever pirate vignette we were sailing by. Ultimately, the song, with music by George Bruns, underlines the ride’s humorous feel, allowing the looting, the pillaging and the chasing of women, another scene that has been altered over the years, to be delivered with a playful bent.

The song “altered the trajectory” of Atencio’s career. While Atencio was not considered a musical person — “No, not at all,” says his daughter Tori Atencio McCullough, one of the book’s co-authors — the biography reveals how music became a signature aspect of his work. The short “Toot, Whistle, Plunk and Boom,” for instance, is a humorous tale about the discovery of music. And elsewhere in Atencio’s career he worked on the band-focused opening animations for “Mickey Mouse Club.”

“That one has a pretty cool kind of modern instrument medley in the middle,” Kelsey McCullough, Atencio’s granddaughter and another one of the book’s authors, says of “Mickey Mouse Club.” “It was interesting, because when we lined everything up, it was like, ‘Of course he felt like the ride needed a song.’ Everything he had been doing up to that point had a song in it. Once we looked it at from that perspective, it was sort of unsurprising to us. He was doing a lot around music.”

Xavier “X” Atencio contributed concepts to Disneyland’s Haunted Mansion, including its famous one-eyed cat.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Atencio would go on to write lyrics for the Country Bear Jamboree and the Haunted Mansion. While the Haunted Mansion vacillates between spooky and lighthearted imagery, it’s Atencio’s “Grim Grinning Ghosts” that telegraphs the ride’s tone and makes it clear it’s a celebratory attraction, one in which many of those in the afterlife prefer to live it up rather than haunt.

Despite his newfound music career, Atencio never gave up drawing and contributing concepts to Disney theme park attractions. Two of my favorites are captured in the book — his abstract flights through molecular lights for the defunct Adventure Thru Inner Space and his one-eyed black cat for the Haunted Mansion. The latter has become a fabled Mansion character over the years. Atencio’s fiendish feline would have followed guests throughout the ride, a creature said to despise living humans and with predatory, possessive instincts.

In Atencio’s concept art, the cat featured elongated, vampire-like fangs and a piercing red eye. In a nod to Edgar Allan Poe’s story “The Black Cat,” it had just one eyeball, which sat in its socket with all the subtlety of a fire alarm. Discarded eventually — a raven essentially fills a similar role — the cat today has been resurrected for the Mansion, most notably in a revised attic scene where the kitty is spotted near a mournful bride.

Xavier “X” Atencio retired from Disney in 1984 after four-plus decades with the company. He drew his own retirement announcement.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Co-author Bobbie Lucas, a relative of Atencio’s colloquially referred to by the family as his “grandchild-in-law,” was asked what ties all of Atencio’s work together.

“No matter the different style or no matter the era, there’s such a sense of life and humanity,” Lucas says. “There’s a sense of play.”

Play is a fitting way to describe Atencio’s contributions to two of Disneyland’s most beloved attractions, where pirates and ghosts are captured at their most frivolous and jovial.

“I like that,” Lucas adds. “I like someone who will put their heart on their sleeve and show you that in their art.”

As one century gives way to another, a child is born in Mumbai. “The millennium’s gift,” Chandni Contractor, is a source of joy to her parents. When Chandni turns 4 and reveals herself to be a musical prodigy, she becomes a source of wonder. At the age of 13, she dazzles audiences across India with her piano and sitar performances. Five years later, she enthralls Majnoo, the playboy son of billionaire parents, and the pair go on to have a spectacular wedding. But their marriage sours and her in-laws turn overbearing. Eventually Chandni snaps and wreaks havoc by playing a different kind of music, one that has the power to destroy livelihoods and lives.

“The Musician of Kahani” is one of five stories in a new collection by Salman Rushdie. “The Eleventh Hour” sees the acclaimed Indian-born British American author exploring the weighty matters of life and death. That he should choose to craft tales around these twin themes is hardly surprising. In 2022, he was nearly killed in a frenzied attack at an event in upstate New York. Two years later, in his up-close-and-personal memoir, “Knife,” he recounted his ordeal and told how he had come to embrace what he called “my second-chance life.” Rushdie’s brush with death and new lease on life renders his latest stories — his first fiction since the attack — all the more potent and poignant.

The collection’s opener, “In the South,” gets underway both innocently and ominously: “The day Junior fell down began like any other day.” What follows is a chronicle of a death foretold. Senior and Junior are two octogenarian neighbors in Chennai, India, who spend their time together arguing. The former has had a rich and fulfilling life, but as so many of his friends and family have died — or “gone to their fiery rest” — he now longs for death. The latter, afflicted by “the incurable disease of mediocrity,” has led a disappointing life yet still possesses a lust for it.

When a tsunami hits the city, it kills Junior. At first Senior is angry (“Why not me?” he rages), but his dominant emotion turns to sadness after he realizes he has lost a man who was his “shadow.” Or so he believes. For Junior’s passing is not the end. Senior continues to see, and quarrel with, his fallen friend. As Rushdie puts it: “Death and life were just adjacent verandas.”

One of the finest stories here, “Late,” involves another apparition. English academic S. M. Arthur wakes up in his university college (an unnamed King’s College, Cambridge) and discovers he is dead. Feeling like “a broken entity trapped in a kind of prison,” he finds peace by communing with the one person who can see him, Indian student and fellow lonely soul, Rosa.

The pair form a bond in the empty college over the Christmas holidays. Despite their affinity, Arthur harbors secrets. When Rosa is tasked with sorting his papers, she comes across a mysteriously locked box file, the contents of which he refuses to disclose. Then Arthur takes stock of his situation and decides he can’t rest until Rosa helps him get even with a past persecutor. What is in the box and why the need for revenge?

Weighing in at over 70 pages, “Late” constitutes more a novella than a story, as does “The Musician of Kahani” and the equally substantial “Oklahoma.” This last offering about writers, writing and elaborate vanishing acts is artfully structured and formally daring, made up of multiple layers, diverse references, literary ventriloquy and slick twists and turns. In a lesser writer’s hands, this novella might have been too clever for its own good; however, Rushdie, a seasoned pro, achieves the perfect balance.

He hasn’t done so in recent years in his long-form fiction. “The Golden House” (2017), “Quichotte” (2019) and his last novel, “Victory City” (2023), were blighted in places by digressive riffs and monologues, bottomless subplots, “humorous” character names (Evel Cent, Thimma the Almost as Huge) and excessive magic-realist high jinks comprising talking revolvers, ferocious mastodons, an Italian-speaking cricket and a demigoddess who grows a city from seeds and lives for 247 years. Sometimes this hocus-pocus worked wonders; at other times it felt like cheap tricks.

Rushdie has far more success in “The Eleventh Hour.” His narratives are more streamlined. His flights of fancy— malevolent music, undead scholars, imaginary brothers, a cult led by a guru with 93 Ferraris in an “experimental township” called the Moon — are more controlled and add subtle strokes of color. Some groan-inducing puns aside, Rushdie’s comic touches are deftly managed, appearing as sharp satirical swipes or witty repartee. “You look like a man who is only waiting to die,” says Junior to Senior, who in turn retorts: “That is better than looking, as you do, like a man who is still waiting to live.”

Rushdie exhibits further playfulness by scattering clues and inviting his reader to trace connections. Arthur is in part a crafty composite of the writer E.M. Forster and the computer scientist Alan Turing — all three being, like their creator, King’s College alumni. “And at midnight, the approved hour for miraculous births in our part of the world, a baby was born to a Breach Candy family,” Rushdie writes of Chandni, with a knowing nod to the key time, place and circumstances in his 1981 masterpiece “Midnight’s Children.”

The book’s last and shortest entry, the fabular “The Old Man in the Piazza,” makes for a somewhat slight coda. Otherwise, this is an inventive and engrossing collection of stories which, though death-tinged, are never doom-laden. With luck this master writer has more tales to tell.

Malcolm Forbes is a freelance writer and critic from Edinburgh, Scotland, who writes for the Economist, the Washington Post and other publications.

Somehow in Los Angeles, everything comes back to traffic.

While making their works featured in the Hammer Museum’s Made in L.A. biennial, artists Patrick Martinez, Freddy Villalobos and Gabriela Ruiz set out to capture the essence of the city’s crammed streets through different lenses.

For over a decade, the Hammer has curated its Made in L.A. series to feature artists who grapple with the realities of living and making art here. It’s an art show that simultaneously pays homage to legacy L.A. artists like Alonzo Davis and Judy Baca, and gives a platform to newer faces such as Lauren Halsey and Jackie Amezquita.

This year’s show, which opened last month, features 28 artists. As part of that cohort, Martinez, Villalobos and Ruiz bring their lived experiences as Latinos from L.A. to the West Side art institution, drawing inspiration from the landscapes of their upbringing.

While creating their displayed works, Martinez took note of the many neon signs hanging in stores’ windows, leading him to make “Hold the Ice,” an anti-ICE sign, and incorporate bright pink lights into his outdoor cinder block mural, “Battle of the City on Fire.” With flashing lights and a shuttered gate tacked onto a painted wooden panel, Ruiz drew on her experiences exploring the city at night and the over-surveillance of select neighborhoods in the interactive piece, “Collective Scream.” Villalobos filmed Figueroa Street from a driver’s perspective, observing the street’s nighttime activity and tracing the energy that surrounds the place where soul singer Sam Cooke was shot.

This year, Made in L.A. doesn’t belong to a specific theme or a title — but as always, the selected art remains interconnected. These three artists sat down with De Los to discuss how their L.A. upbringing has influenced their artistic practice and how their exhibited works are in conversation. Made in L.A. will be on view until March 1, 2026.

The following conversation has been condensed and edited for clarity.

All three of you seem to put a spotlight on various elements of L.A.’s public spaces. How is your art affected by your surroundings?

Ruiz: I really got to explore L.A. as a whole, through partying and going out at night. I prefer seeing this city at night, because there isn’t so much traffic. That’s how I started my art practice. I would perform in queer nightlife spaces and throw parties in cheap warehouses. With my commute from the Valley, I would notice so much. I wouldn’t speed through the freeway. I’d instead take different routes, so I’d learn to navigate the whole city without a GPS and see things differently.

Martinez: That’s also how I started seeing neons. I had a studio in 2006 in downtown, off 6th and Alameda. I would wait for traffic to fade because I was staying in Montebello at the time. I would drive down Whittier Boulevard at night. And you see all the neon signs that have a super saturated color and glow bright. I thought about its messaging. None of the businesses were open that late. They were just letting people know they were there.

Ruiz: Specifically in this piece [“Collective Scream”], there’s a blinking street lamp. It reminds me of when I would leave raves and would randomly see this flickering light. It’s this hypnotizing thing that I would observe and take note of whenever I was on the same route. There’s also a moving gate, [in my piece,] that resembles the ones you see when you’re driving late at night and everything’s gated up.

Villalobos: You do experience a lot of L.A. from your car. It’s a cliche. But f— it. It’s true. When I moved out of L.A., I felt a little odd. I missed the bubble of my car. You can have what seems to be a private moment in your car in a city that’s packed with traffic and so many people. It made me think about what that means, what kind of routes people are taking and how we cultivate community.

Patrick Martinez’s “Battle of the City on Fire,” made in 2025, was inspired by the work of the muralist collective, named the East Los Streetscapers.

(Sarah M Golonka / smg photography)

It’s interesting that you all found inspiration in the biggest complaints about L.A. Maybe there’s something to think about when it comes to the way those born here think of car culture and traffic.

Martinez: I see its effects even with the landscapes I make. I’ll work from left to right, and that’s how we all look at the world when we drive. I always think about Michael Mann movies when I’m making landscapes, especially at night. He has all those moments of quiet time of being in the car and just focusing on what’s going on.

Beyond surveying the streets, your works touch on elements of the past. There’s a common notion that L.A. tends to disregard its past, like when legacy restaurants shut down or when architectural feats get demolished. Does this idea play any role in your work?

Martinez: The idea of L.A. being ashamed of its past pushed me to work with cinder blocks [in “Battle of the City on Fire”]. One of the main reasons was to bring attention to the East Los Streetscapers, the muralists who painted in East L.A. [in the 1960s and ‘70s as a part of the Chicano Mural Movement]. There was this one mural in Boyle Heights that was painted at a Shell gas station. It was later knocked down and in the demolition pictures, the way the cinder blocks were on the floor looked like a sculptural painting. It prompted me to use cinder blocks as a form of sculpture and think about what kind of modern-day ruins we pass by.

Villalobos: Speaking about L.A. as a whole feels almost too grand for me. But if I think about my specific neighborhood, in South Central, what comes to my mind is Black Radical Tradition. It’s where people are able to make something out of what other people might perceive as nothing. There’s always something that’s being created and mixed and mashed together to make something that, to me, is beautiful. It’s maybe not as beautiful to other people, but it’s still a new and creative way to see things and understand what comes before us.

Ruiz: Seeing my parents, who migrated to this country, come from nothing and start from scratch ties into that idea too. Seeing what they’ve been able to attain, and understanding how immigrants can start up businesses and restaurants here, speaks so much to what L.A. is really about. It’s about providing an opportunity that everybody has.

So it’s less about disregarding the past and more about making something out of nothing?

Martinez: It ties back to necessity, for me. Across this city, people come together by doing what they need to do to pay rent. It’s a crazy amount of money to be here. People need to regularly adjust what they do to survive. Recently, I’ve been seeing that more rapidly. There are more food vendors and scrolling LED signs, advertising different things. Once you understand how expensive this backdrop can be, that stuff sits with me.

Freddy Villalobos’ “waiting for the stone to speak, for I know nothing of aventure,” is an immersive work in which viewers can feel loud vibrations pass as they, figuratively, travel down Figueroa Street.

(Sarah M Golonka / smg photography)

We’ve talked a lot about how the past affects L.A. and the role it plays in your art. Does a future L.A. ever cross your mind?

Villalobos: I feel very self-conscious about what I’m gonna say. But as much as I love L.A. and as much as it helped me become who I am, I wouldn’t be too mad with it falling apart. A lot of people from my neighborhood have already been moving to Lancaster, Palmdale and the Inland Empire. When I go to the IE, it feels a little like L.A. and I’m not necessarily mad at that.

Ruiz: It’s really difficult to see what the future holds for anybody. Even with art, what’s going to happen? I don’t know. It’s really challenging to see a future when there’s a constant cycle of bad news about censorship and lack of funding.

Martinez: It’s murky. It’s clouded. This whole year has been so heavy, and everyone talking about it adds to it, right? We’re facing economic despair, and it’s all kind of heavy. Who knows what the future will hold? But there are definitely moves being made by the ruling class to make it into something.

You may not know Eliot Mack’s name, but if a small robot has ever crept around your kitchen, you know his work.

Before he turned his MIT-trained mind to filmmaking, Mack helped lead a small team of engineers trying to solve a deeply relatable problem: how to avoid vacuuming. Whether it was figuring out how to get around furniture legs or unclog the brushes after a run-in with long hair, Mack designed everything onscreen first with software, troubleshooting virtually and getting 80% of the way there before a single part was ever manufactured.

The result was the Roomba.

When Mack pivoted to filmmaking in the early 2000s, he was struck by how chaotic Hollywood’s process felt. “You pitch the script, get the green light and you’re flying into production,” he says, sounding both amused and baffled. “There’s no CAD template, no centralized database. I was like, how do movies even get made?”

That question sent Mack down a new path, trading dust bunnies for the creative bottlenecks that slow Hollywood down.

In 2004 he founded Lightcraft Technology, a startup developing what would later be known as virtual production tools, born out of his belief that if you could design a robot in software, you should be able to design a shot the same way. The company’s early system, Previzion, sold for $180,000 and was used on sci-fi and fantasy shows like “V” and “Once Upon a Time.” But Jetset, its latest AI-assisted tool set, runs on an iPhone and offers a free tier, with pro features topping out at just $80 a month. It lets filmmakers scan a location, drop it into virtual space and block out scenes with camera moves, lighting and characters. They can preview shots, overlay elements and organize footage for editing — all from a phone. No soundstage, no big crew, no gatekeepers. Lightcraft’s pitch: “a movie studio in your pocket.”

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

The goal, Mack says, is to put more power in the hands of the people making the work. “One of the big problems is how siloed Hollywood is,” he says. “We talked to an Oscar-winning editor who said, ‘I’m never going to get to make my movie’ — he was pigeonholed as just an editor. Same with an animator we know who has two Oscars.”

Eliot Mack, CEO of Lightcraft, an AI-powered virtual-production startup, wants to give creators the power and freedom to bring their ideas to life.

(Christina House/Los Angeles Times)

To Mack, the revolution of Jetset recalls the scrappy, guerrilla spirit of Roger Corman’s low-budget productions, which launched the early careers of directors like Francis Ford Coppola and Martin Scorsese. For generations of creatives stuck waiting on permission or funding, he sees this moment as a reset button.

“The things you got good at — writing, directing, acting, creating, storytelling — they’re still crazy useful,” he says. “What’s changing is the amount of schlepping you have to do before you get to do the fun stuff. Your 20s are a gift. You want to be creating at the absolute speed of sound. We’re trying to get to a place where you don’t have to ask anyone. You can just make the thing.”

AI is reshaping nearly every part of the filmmaking pipeline. Storyboards can now be generated from a script draft. Lighting and camera angles can be tested before anyone touches a piece of gear. Rough cuts, placeholder VFX, even digital costume mock-ups can all be created before the first shot is filmed. What once took a full crew, a soundstage and a six-figure budget can now happen in minutes, sometimes at the hands of a single person with a laptop.

This wave of automation is arriving just as Hollywood is gripped by existential anxiety. The 2023 writers’ and actors’ strikes brought the industry to a standstill and put AI at the center of a fight over its future. Since then, production has slowed, crew sizes have shrunk and the streaming boom has given way to consolidation and cost-cutting.

According to FilmLA, on-location filming in Greater Los Angeles dropped 22.4% in early 2025 compared with the year before. For many of the crew members and craftspeople still competing for those jobs, AI doesn’t feel like an innovation. It feels like a new way to justify doing more with less, only to end up with work that’s less original or creative.

“AI scrapes everything we artists have made off the internet and creates a completely static, banal world that can never imagine anything that hasn’t happened before,” documentary filmmaker Adam Curtis warned during a directors panel at the 2023 Telluride Film Festival, held in the midst of the strikes. “That’s the real weakness of the AI dream — it’s stuck with the ghosts. And I think we’ll get fed up with that.”

How you feel about these changes often depends on where you sit and how far along you are in your career. For people just starting out, AI can offer a way to experiment, move faster and bypass the usual barriers to entry. For veterans behind the scenes, it often feels like a threat to the expertise they’ve spent decades honing.

Past technological shifts — the arrival of sound, the rise of digital cameras, the advancement of CGI — changed how movies were made, but not necessarily who made them. Each wave brought new roles: boom operators and dialogue coaches, color consultants and digital compositors. Innovation usually meant more jobs, not fewer.

But AI doesn’t just change the tools. It threatens to erase the people who once used the old ones.

Diego Mariscal has seen first hand as AI has cut potential jobs for grips.

(Jennifer Rose Clasen)

Diego Mariscal, 43, a veteran dolly grip who has worked on “The Mandalorian” and “Spider-Man: No Way Home,” saw the writing on the wall during a recent shoot. A visual effects supervisor opened his laptop to show off a reel of high-end commercials and something was missing. “There were no blue screens — none,” Mariscal recalls. “That’s what we do. We put up blues as grips. You’d normally hire an extra 10 people and have an extra three days of pre-rigging, setting up all these blue screens. He was like, ‘We don’t need it anymore. I just use AI to clip it out.’”

Mariscal runs Crew Stories, a private Facebook group with nearly 100,000 members, where working crew members share job leads, trade tips and voice their growing fears. He tries to keep up with the steady drip of AI news. “I read about AI all day, every day,” he says. “At least 20 posts a day.”

His fear isn’t just about fewer jobs — it’s about what comes next. “I’ve been doing this since I was 19,” Mariscal says of his specialized dolly work, which involves setting up heavy equipment and guiding the camera smoothly through complex shots. “I can push a cart in a parking lot. I can push a lawnmower. What else can I do?”

Who wins, who loses and what does James Cameron think?

Before AI and digital doubles, Mike Marino learned the craft of transformation the human way: through hands-on work and a fascination that bordered on obsession.

Marino was 5 years old when he first saw “The Elephant Man” on HBO. Horrified yet transfixed, he became fixated on prosthetics and the emotional power they could carry. As a teenager in New York, he pored over issues of Fangoria, studied monsters and makeup effects and experimented with sculpting his own latex masks on his bedroom floor.

Prosthetics artist Mike Marino asks a big question related to generative AI: What role do the human creatives play?

(Sean Dougherty / For The Times)

Decades later, Marino, 48, has become one of Hollywood’s leading makeup artists, earning Oscar nominations for “Coming 2 America,” “The Batman” and last year’s dark comedy “A Different Man,” in which he helped transform Sebastian Stan into a disfigured actor.

His is the kind of tactile, handcrafted work that once seemed irreplaceable. But today AI tools are increasingly capable of achieving similar effects digitally: de-aging actors, altering faces, even generating entire performances. What used to take weeks of experimentation and hours in a makeup trailer can now be approximated with a few prompts and a trained model. To Marino, AI is more than a new set of tools. It’s a fundamental change in what it means to create.

“If AI is so good it can replace a human, then why have any human beings?” he says. “This is about taste. It’s about choice. I’m a human being. I’m an artist. I have my own ideas — mine. Just because you can make 10,000 spaceships in a movie, should you?”

Marino is no technophobe. His team regularly uses 3D scanning and printing. But he draws the line at outsourcing creative judgment to a machine. “I’m hoping there are artists who want to work with humans and not machines,” he says. “If we let AI just run amok with no taste, no choice, no morality behind it, then we’re gone.”

Not everyone sees AI’s rise in film production as a zero-sum game. Some technologists imagine a middle path. Daniela Rus, director of MIT’s Computer Science and Artificial Intelligence Lab and one of the world’s leading AI researchers, believes the future of filmmaking lies in a “human-machine partnership.”

AI, Rus argues, can take on time-consuming tasks like animating background extras, color correction or previsualizing effects, freeing up people to focus on what requires intuition and taste. “AI can help with the routine work,” she says. “But the human touch and emotional authenticity are essential.”

Few directors have spent more time grappling with the dangers and potential of artificial intelligence than James Cameron. Nearly 40 years before generative tools entered Hollywood’s workflow, he imagined a rogue AI triggering global apocalypse in 1984’s “The Terminator,” giving the world Skynet — now a cultural shorthand for the dark side of machine intelligence. Today, he continues to straddle that line, using AI behind the scenes on the upcoming “Avatar: Fire and Ash” to optimize visual effects and performance-capture, while keeping creative decisions in human hands. The latest sequel, due Dec. 19, promises to push the franchise’s spectacle and scale even further; a newly released trailer reveals volcanic eruptions, aerial battles and a new clan of Na’vi.

A scene from “Avatar: The Way of Water.” Director James Cameron differentiates between using machine-learning to reduce monotonous movie-making work and generative AI.

(Courtesy of 20th Century Studios/Courtesy of 20th Century Studios)

“You can automate a lot of processes that right now tie up a lot of artists doing mundane tasks,” Cameron told The Times in 2023 at a Beyond Fest screening of his 1989 film “The Abyss.” “So if we could accelerate the postproduction pipeline, then we can make more movies. Then those artists will get to do more exciting things.”

For Cameron, the promise of AI lies in efficiency, not elimination. “I think in our particular industry, it’s not going to replace people; it’s going to free them to do other things,” he believes. “It’s going to accelerate the process and bring the price down, which would be good because, you know, some movies are a little more expensive than others. And a lot of that has to do with human energy.”

Cameron himself directed five films between 1984 and 1994 and only three in the three decades since, though each one has grown increasingly complex and ambitious.

That said, Cameron has never been one to chase shortcuts for their own sake. “I think you can make pre-viz and design easier, but I don’t know if it makes it better,” he says. “I mean, if easy is your thing. Easy has never been my thing.”

He draws a line between the machine-learning techniques his team has used since the first “Avatar” to help automate tedious tasks and the newer wave of generative AI models making headlines today.

“The big explosion has been around image-based generative models that use everything from every image that’s ever been created,” he says. “We’d never use any of them. The images we make are computer-created, but they’re not AI-created.”

In his view, nothing synthetic can replace the instincts of a flesh-and-blood artist. “We have human artists that do all the designs,” he says. “We don’t need AI. We’ve got meat-I. And I’m one of the meat-artists that come up with all that stuff. We don’t need a computer. Maybe other people need it. We don’t.”

Reshaping creativity — and creative labor

Rick Carter didn’t go looking for AI as a tool. He discovered it as a lifeline.

The two-time Oscar-winning production designer, who worked with Cameron on “Avatar” and whose credits include “Jurassic Park” and “Forrest Gump,” began experimenting with generative AI tools like Midjourney and Runway during the pandemic, looking for a way to keep his creative instincts sharp while the industry was on pause. A longtime painter, he was drawn to the freedom the programs offered.

“I saw that there was an opportunity to create images where I didn’t have to go to anybody else for approval, which is the way I would paint,” Carter says by phone from Paris. “None of the gatekeeping would matter. I have a whole lot of stories on my own that I’ve tried to get into the world in various ways and suddenly there was a way to visualize them.”

Midjourney and Runway can create richly detailed images — and in Runway’s case, short video clips — from a text prompt or a combination of text and visuals. Trained on billions of images and audiovisual materials scraped from the internet, these systems learn to mimic style, lighting, composition and form, often with eerie precision. In a production pipeline, these tools can help concept artists visualize characters or sets, let directors generate shot ideas or give costume designers and makeup artists a fast way to test looks, long before physical production begins.

But as these tools gain traction in Hollywood, a deeper legal and creative dilemma is coming into focus: Who owns the work they produce? And what about the copyrighted material used to train them?

In June, Disney and Universal filed a federal copyright lawsuit against Midjourney, accusing the company of generating unauthorized replicas of characters such as Spider-Man, Darth Vader and Shrek using AI models trained on copyrighted material: what the suit calls a “bottomless pit of plagiarism.” It’s the most high-profile of several legal challenges now putting copyright law to the test in the age of generative AI.

“Forrest Gump” director Robert Zemeckis, left, with production designer Rick Carter at an art installation of the movie’s famed bench. (Carter family)

(Carter family)

Working with generative models, Carter began crafting what he calls “riffs of consciousness,” embracing AI as a kind of collaborative partner, one he could play off of intuitively. The process reminded him of the loose, improvisational early stages of filmmaking, a space he knows well from decades of working with directors like Robert Zemeckis and Steven Spielberg.

“I’ll just start with a visual or a word prompt and see how it iterates from there and what it triggers in my mind,” Carter says. “Then I incorporate that so it builds on its own in an almost free-associative way. But it’s still based upon my own intuitive, emotional, artistic, even spiritual needs at that moment.”

He describes the experience as a dialogue between two minds, one digital and one human: “One AI is artificial intelligence. The other AI is authentic intelligence — that’s us. We’ve earned it over this whole span of time on the planet.”

Sometimes, Carter says, the most evocative results come from mistakes. While sketching out a story about a hippie detective searching for a missing woman in the Himalayas, he accidentally typed “womb” into ChatGPT instead of “woman.” The AI ran with it, returning three pages of wild plot ideas involving gurus, seekers and a bizarre mystery set in motion by the disappearance.

“I couldn’t believe it,” he says. “I would never have taken it that far. The AI is so precocious. It is trying so much to please that it will literally make something out of the mistake you make.”

Carter hasn’t used generative AI on a film yet; most of his creations are shared only with friends. But he says the technology is already slipping into creative workflows in covert ways. “There are issues with copyrights with most of the studios so for now, it’s going to be mostly underground,” he says. “People will use it but they won’t acknowledge that they’re using it — they’ll have an illustrator do something over it, or take a photo so there’s no digital trail.”

Carter has lived through a major technological shift before. “I remember when we went from analog to digital, from ‘Jurassic Park’ on,” he says. “There were a lot of wonderful artists who could draw and paint in ways that were just fantastic but they couldn’t adapt. They didn’t want to — even the idea of it felt like the wrong way to make art. And, of course, most of them suffered because they didn’t make it from the Rolodex to the database in terms of people calling them up.”

He worries that some artists may approach the technology with a rigid sense of authorship. “Early on, I found that the less I used my own ego as a barometer for whether something was artistic, the more I leaned into the process of collaboratively making something bigger than the sum of its parts — and the bigger and better the movies became.”

Others, like storyboard artist Sam Tung, are bracing against the same wave with a quiet but unshakable defiance.

Tung, whose credits include “Twisters” and Christopher Nolan’s upcoming adaptation of “The Odyssey,” has spent the last two years tracking the rise of generative tools, not just their capabilities but their implications. As co-chair of the Animation Guild’s AI Committee, he has been on the front lines of conversations about how these technologies could reshape creative labor.

To artists like Tung, the rise of generative tools feels deeply personal. “If you are an illustrator or a writer or whatever, you had to give up other things to take time to develop those skills,” he says. “Nobody comes out of the womb being able to draw or write or act. Anybody who does that professionally spent years honing those skills.”

Tung has no interest in handing that over to a machine. “It’s not that I’m scared of it — I just don’t need it,” he says. “If I want to draw something or paint something, I’ll do it myself. That way it’s exactly what I want and I actually enjoy the process. When people tell me they responded to a drawing I did or a short film I made with friends, it feels great. But anything I’ve made with AI, I’ve quickly forgotten about. There’s basically nothing I get from putting it on social media, other than the ire of my peers.”

What unsettles him isn’t just the slickness of AI’s output but how that polish is being used to justify smaller crews and faster turnarounds. “If this is left unchecked, it’s very easy to imagine a worst-case scenario where team sizes and contract durations shrink,” Tung says. “A producer who barely understands how it works might say, ‘Don’t you have AI to do 70% of this? Why do you need a whole week to turn around a sequence? Just press the button that says: MAKE MOVIE.’ ”

At 73, Carter isn’t chasing jobs. His legacy is secure. “If they don’t hire me again, that’s OK,” he says. “I’m not in that game anymore.” He grew up in Hollywood — his father was Jack Lemmon’s longtime publicist and producing partner — and has spent his life watching the industry evolve. Now, he’s witnessing a reckoning unlike any he, or anyone else, has ever imagined.

“I do have concerns about who is developing AI and what their values are,” he says. “What they use all this for is not necessarily something I would approve of — politically, socially, emotionally. But I don’t think I’m in a position to approve or not.”

Earlier this year, the Palisades fire destroyed Carter’s home, taking with it years of paintings and personal artwork. AI, he says, has given him a way to keep creating through the upheaval. “It saved me through the pandemic, and now it’s saving me through the fire,” he says, as if daring the universe to test him again. “It’s like, go ahead, throw something else at me.”

‘Prompt and pray?’ Not so fast

Many in the industry may still be dipping a toe into the waters of AI. Verena Puhm dove in.

The Austrian-born filmmaker studied acting and directing in Munich and Salzburg before moving to Los Angeles, where she built a globe-spanning career producing, writing and developing content for international networks and streamers. Her credits range from CNN’s docuseries “History of the Sitcom” to the German reboot of the cult anthology “Beyond Belief: Fact or Fiction” and a naval documentary available on Tubi. More recently, she has channeled that same creative range into a deepening exploration of generative tools.

Puhm first began dabbling with AI while using Midjourney to design a pitch deck, but it wasn’t until she entered a timed generative AI filmmaking challenge at the 2024 AI on the Lot conference — informally dubbed a “gen battle” — that the creative potential of the medium hit her.

“In two hours, I made a little mock commercial,” she remembers, proudly. “It was actually pretty well received and fun. And I was like, Oh, wow, I did this in two hours. What could I do in two days or two weeks?”

What started as experimentation soon became a second act. This summer, Puhm was named head of studio for Dream Lab LA, a new creative arm of Luma AI, which develops generative video tools for filmmakers and creators. There, she’s helping shape new storytelling formats and supporting emerging creators working at the intersection of cinema and technology. She may not be a household name, but in the world of experimental storytelling, she’s fast becoming a key figure.

Verena Puhm, a director, writer and producer, has used generative AI in a number of her projects, says it’s breaking down barriers to entry.

(Jason Armond/Los Angeles Times)

Some critics dismiss AI filmmaking as little more than “prompt and pray”: typing in a few words and hoping something usable comes out. Puhm bristles at the phrase.

“Anybody that says that tells me they’ve never tried it at all, because it is not that easy and simple,” she says. “You can buy a paintbrush at Home Depot for, what, $2? That doesn’t make you a painter. When smartphones first came out, there was a lot of content being made but that didn’t mean everyone was a filmmaker.”

What excites her most is how AI is breaking down the barriers that once kept ambitious ideas out of reach. Luma’s new Modify Video tool lets filmmakers tweak footage after it’s shot, changing wardrobe, aging a character, shifting the time of day, all without reshoots or traditional VFX. It can turn a garage into a spaceship, swap a cloudy sky for the aurora borealis or morph an actor into a six-eyed alien, no green screen required.

“It’s such a relief as an artist,” Puhm says. “If there’s a project I’ve been sitting on for six years because I didn’t have a $5 million budget — suddenly there’s no limit. I remember shopping projects around and being told by producers, ‘This scene has to go, that has to go,’ just to keep the budget low. Now everything is open.”

That sense of access resonates far beyond Los Angeles. At a panel during AI on the Lot, “Blue Beetle” director Ángel Manuel Soto reflected on how transformative AI might have been when he was first starting out. “I wish tools like this existed when I wanted to make movies in Puerto Rico, because nobody would lend me a camera,” he said. “Access to equipment is a privilege we sometimes take for granted. I see this helping kids like me from the projects tell stories without going bankrupt — or stealing, which I don’t condone.”

Puhm welcomes criticism of AI but only when it’s informed. “If you hate AI and you’ve actually tested the tools and educated yourself, I’ll be your biggest supporter,” she says. “But if you’re just speaking out of fear, with no understanding, then what are you even basing your opinion on?”

She understands why some filmmakers feel rattled, especially those who, like her, grew up dreaming of seeing their work on the big screen. “I still want to make features and TV series — that’s what I set out to do,” she says. “I hope movie theaters don’t go away. But if the same story I want to tell reaches millions of people on a phone and they’re excited about it, will I really care that it wasn’t in a theater?”

“I just feel like we have to adapt to the reality of things,” she continues. “That might sometimes be uncomfortable, but there is so much opportunity if you lean in. Right now any filmmaker can suddenly tell a story at a high production value that they could have never done before, and that is beautiful and empowering.”

For many, embracing AI boils down to a simple choice: adapt or get cut from the frame.

Hal Watmough, a BAFTA-winning British editor with two decades of experience, first began experimenting with AI out of a mix of curiosity and dread. “I was scared,” he admits. “This thing was coming into the industry and threatening our jobs and was going to make us obsolete.” But once he started playing with tools like Midjourney and Runway, he quickly saw how they could not only speed up the process but allow him to rethink what his career could be.

For an editor used to working only with what he was given, the ability to generate footage on the fly, cut with it immediately and experiment endlessly without waiting on a crew or a shoot was a revelation. “It was still pretty janky at that stage, but I could see the potential,” he says. “It was kind of intoxicating. I started to think, I’d like to start making things that I haven’t seen before.”

After honing his skills with various AI tools, Watmough created a wistful, vibrant five-minute animated short called “LATE,” about an aging artist passing his wisdom to a young office worker. Over two weeks, he generated 2,181 images using AI, then curated and refined them frame by frame to shape the story.

Earlier this year, he submitted “LATE” to what was billed as the world’s first AI animation contest, hosted by Curious Refuge, an online education hub for creative technologists — and, to his delight, he won. The prize included $10,000, a pitch meeting with production company Promise Studios and, as an absurd bonus, his face printed on a potato. But for Watmough, the real reward was the sense that he had found a new creative identity.

“There’s something to the fact that the winner of the first AI animation competition was an editor,” Watmough says. “With the advent of AI, yes, you could call yourself a filmmaker but essentially I’d say most people are editors. You’re curating, selecting, picking what you like — relying on your taste.”

Thanks to AI, he says he’s made more personal passion projects in the past year and a half than during his entire previous career. “I’ll be walking or running and ideas just come. Now I can go home that night and try them,” he says. “None of that would exist without AI. So either something exists within AI or it never exists at all. And all the happiness and fulfillment that comes with it for the creator doesn’t exist either.”

Watmough hasn’t entirely lost his fear of what AI might do to the creative workforce, even as he is energized by what it makes possible. “A lot of people I speak to in film and TV are worried about losing their jobs and I’m not saying the infrastructure roles won’t radically change,” he says. “But I don’t think AI is going to replace that many — if any — creative people.”

What it will do, he says, is raise the bar. “If anyone can create anything, then average work will basically become extinct or pointless. AI can churn out remakes until the cows come home. You’ll have to pioneer to exist.”

He likens the current moment to the birth of cinema more than a century ago — specifically the Lumière brothers’ “Arrival of a Train at La Ciotat,” the 1896 short that famously startled early audiences. In the silent one-minute film, a steam train rumbles toward the camera, growing larger. Some viewers reportedly leaped from their seats, convinced it was about to crash into them.

“People ran out of the theater screaming,” Watmough says. “Now we don’t even think about it. With AI, we’re at that stage again. We’re watching the steam train come into the station and people are either really excited or they’re running out of the theater in fear. That’s where we are, right at the start. And the potential is limitless.”

Then again, he adds with a dry laugh, “I’m an eternal optimist, so take what I say with a grain of salt.”

If you’re like me, you spent a lot of time over the last few weeks reading about the unbelievably brazen Louvre museum heist. Not only did it provide a welcome respite from obsessing over the destruction of the East Wing, it also supplied an adrenaline boost for the imagination: Who on earth had the nerve to literally cut through a window in broad daylight and leap into the world’s most famous museum in order to grab nearly $102 million worth of crown jewels before escaping on a motor scooter?

My favorite article about the fiasco ran in the Atlantic under the headline “The Louvre Heist is Terrific,” with the subhed, “Here was a dreamy little crime in which no one really got hurt.” The French people beg to differ. In many circles, the crime signaled a glaring national failure. Either way, seven suspects have now been detained by police in connection with the crime, and we will have answers soon enough — even if nobody will ever see the jewels again.

The heist seemed ripped from the script of a Hollywood blockbuster — something along the lines of “Ocean’s Eleven,” starring Vincent Cassel and Omar Sy instead of George Clooney and Matt Damon. As such, it spawned a paroxysm of frenetic, click-sticky activity on social and legacy media alike. Newly-minted CBS news chief Bari Weiss reportedly suggested to staff that they interview “The Da Vinci Code” author Dan Brown about the heist. And an online platform called Action Network that analyzes odds, mostly for betting and sports books, released a new U.S. study called “Top 10 Museums Most Vulnerable to a Heist.”

“The study estimates each museum’s implied probability of a heist, showing how visibility, value, and public access combine into a theoretical ‘heist appeal.’ It reflects exposure, not vulnerability. To be clear: we’re not predicting theft. We’re measuring where culture meets risk,” Action Network explained on its website.

It turns out that in Los Angeles, Getty Center and Los Angeles County Museum of Art have the most “heist-appeal,” according to the study. The former comes in at No. 4 on the list, and the latter at No. 7. New York’s Metropolitan Museum of Art sits in the top place, followed by Washington D.C.’s National Gallery of Art.

The study puts the implied probability of a heist at Getty Center at 3.9%, and gives this sunny description of the campus, “A hilltop postcard with galleries. Open vistas, bright courtyards, and art that draws camera phones nonstop, all under movie-worthy security.”

Movie-worthy security has me thinking: I might write a screenplay featuring a gang of criminals who make a daring escape on the Getty tram with Titian’s Venus and Adonis.

I’m arts and culture writer Jessica Gelt, planning my next great adventure. Here’s your arts and culture news for the week.

On our radar

Composer Sarah Kirkland Snider’s opera “Hildegard” will be performed at the Wallis.

(Sarah Kirkland Snider)

Hildegard
With her new opera, “Hildegard,” which has its West Coast premiere as part of Los Angeles Opera’s Off-Grand series, Sarah Kirkland Snider joins a broad range of artists enraptured by the earliest remembered composer, Hildegard von Bingen. Her otherworldly sacred vocal music, along with her visionary writing, has made the 12th century mystic philosopher, medical doctor, natural historian and Benedictine abbess a source of late 20th and 21st century fascination. She shows up in texts about gardening, numinous Christianity and the Kabbalah. David Lynch was not the only filmmaker obsessed with the abbess. Her 900th birthday in 1998 was observed by a feminist composer and singer collective, Hildegurls, by inventively staging Hildegard’s luminous “Ordo Virtutum.” Now it is Snider’s turn, assisted by Elkhanah Pulitzer, for a full-scale Hildegard opera.
– Mark Swed
7:30 p.m. Wednesday, Thursday and Nov. 8; 2 p.m. Nov. 9. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laopera.org

Janet Leigh in the famous shower scene in Alfred Hitchcock’s 1960 classic thriller “Psycho.”

(Associated Press)

Psycho
The American Cinematheque celebrates the 65th anniversary of the unleashing of Norman Bates on moviegoers. “Alfred Hitchcock’s terrifying 1960 landmark forever upended the audience’s narrative expectations, changed theatrical exhibition models and probably led to reduced water bills nationwide,” wrote former Times film critic Justin Chang in 2016. “Accept no substitutes.”
7:30 p.m. Friday. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com

Gail Bean, Biko Eisen-Martin, seated, and Michael Rishawn, standing, star in “Table 17” at Geffen Playhouse.

(Corey Olsen)

Table 17
The West Coast premiere of this rom-com by Douglas Lyons (author of the Broadway comedy “Chicken & Biscuits”) concerns a formerly engaged man and woman who reunite at a restaurant to sift through the past with calm, friendly, objective detachment. What could possibly go wrong? This MCC Theater production, directed by Zhailon Levingston (“Cats: The Jellicle Ball”) features Gail Bean, Biko Eisen-Martin and Michael Rishawn in a play the New York Times described as “comfort food” that “satisfies a genuine craving.”
– Charles McNulty
Wednesday through Dec. 7. Geffen Playhouse’s Gil Cates Theater, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

The week ahead: A curated calendar

FRIDAY
Halloween
What better way to experience “All Hallows’ Eve” than by gorging on John Carpenter’s 1978 horror classic and its chillingly insistent piano score with a group of like-minded souls. Jamie Lee Curtis laid the groundwork for the generations of scream queens to follow.
4:15 and 7 p.m. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org

SATURDAY
Bluebeard’s Castle
The Odyssey Theatre Ensemble presents the American debut of this dark musical thriller laced with romance and horror. A hit in Europe and based on a medieval French fairy tale, it was written and directed by Sofia Streisand and features music by Sergey Rubalsky and Artem Petaykin; lyrics by Elena Hanpira; and choreography by Irina Lyahovskaya, with songs adapted for the English production by Nancy Magarill and Terra Naomi.
8 p.m. Friday and Saturday; 2 p.m. Sunday; through Nov. 23. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Día de Los Muertos
The Wallis delivers its first Family Fest of the season with a free celebration of the holiday featuring story time with Lil’ Libros authors, plus arts, crafts and learning activities; altar-building workshops with Self Help Graphics & Art; face painting by Color Me Face Painting; and a dance workshop and performance by the Pacifico Dance Company, highlighting traditional styles.
11 a.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

The People’s Party
Civics Is Sexy and the NAACP bring together artists, activists and community leaders for two days of film, music and comedy featuring Yasmin Elhady, Chris Dowd of Fishbone, Nic Novicki, Peyton Edmonds and many more.
11 a.m.-6 p.m. Saturday and Sunday. NAACP Hollywood Bureau, 5757 Wilshire Blvd. peoplesparty.civicsissexy.co

Pony Cam
The experimental Australian collective presents “Burnout Paradise,” in which four performers on treadmills attempt to complete a series of increasingly difficult, boundary-testing tasks in a comedic absurdist interpretation of overachievement.
8 p.m. Saturday; 6 p.m. Sunday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

“What we lost in the Ocean,” 2022 (video still) by Ann Le.

(Ann Le)

A Tender Excavation
Los Angeles Contemporary Exhibitions presents a group show of artists working from historical and familial photographic archives to create transformative new stories from Afro-Latinx, African American, Chinese American, Gabrielino/Tongva Nation, Korean American, Iraqi American, Latinx, Mexican, Mexican American, Peruvian American, Thai, Turkish American and Vietnamese American cultures and communities.
Opening reception, 2-5 p.m. Saturday; noon-5 p.m. Tuesday-Friday, through Feb. 21, 2026. Cal State L.A., Luckman Gallery, 5151 State University Drive. theluckman.org

Faye Webster performs Saturday and Sunday at Walt Disney Concert Hall.

(Michael Blackshire / Los Angeles Times)

Faye Webster
The Atlanta-based singer-songwriter, backed by the 40-piece Hollywood Bowl Orchestra, conducted by Thomas Wilkins, performs her indie-folk, alt-country and jazz R&B-infused songs.
8 p.m. Saturday; 7:30 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

SUNDAY
Written On Heaven
A musical portrait of Emahoy Tsege-Mariam Gebru, an Ethiopian nun and composer who died in 2023, featuring performances by pianists Thomas Feng and Gloria Cheng.
8 p.m. Sunday and Monday. Shatto Chapel at First Congregational Church of Los Angeles, 540 S. Commonwealth Ave. mondayeveningconcerts.org

MONDAY

Actor Jeff Goldblum.

(Scott A Garfitt / AP)

An Evening with Jeff Goldblum
A conversation with the popular actor, musician and raconteur is followed by a 4K screening of Robert Altman’s 1976 country and gospel music epic “Nashville.”
7 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

TUESDAY
Moulin Rouge! The Musical
This Tony-winning jukebox spectacle inspired by the 2001 Baz Luhrmann movie, adapted for the stage by John Logan featuring anachronistic pop hits Elton John, Beyoncé, Madonna, Rihanna, Katy Perry and more, focuses on the star-crossed romance between a songwriter from a Ohio and the star of the titular nightclub.
7:30 p.m. Tuesday-Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 1 and 6:30 p.m. Sunday, through Nov. 16. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com

WEDNESDAY
Listening by Moonrise
This seasonal series returns for an evening of music, culture and community with performances by Azucar LA, Juan Gabriel impersonator Marco Ortiz and King Dance.
6:30-9 p.m. Wednesday. Los Candiles Night Club, 2100 Cypress Ave., Glassell Park. clockshop.org

Mariology
The West Coast premiere of this collaboration between playwright Nancy Keystone and Critical Mass Performance Group explores all things Virgin Mary in a fifth-grade classroom that erupts into fantasy and rebellion.
7:30 p.m. Wednesday, through Dec. 7 (check days and times). Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

THURSDAY
Marilyn Minter
A solo exhibition of the artist’s work features paintings from four separate but related bodies of work: large-scale portraits (including Nick Cave, Jane Fonda, Jeff Koons and Cindy Sherman), the “Odalisque” and “After Guston” series, and a selection of Minter’s signature magnified mouths.
Opening, 6-8 p.m. Thursday; 10 a.m.-6 p.m. Tuesday–Saturday, through Dec. 20. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

Music Restored
Violinist Adam Millstein and pianist Dominic Cheli perform works by Martinů, Kaprálová, Smetana and Schulhoff.
7 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu

New Original Works (NOW)
REDCAT’s annual festival of experimental performance kicks off with a program of works by Maylee Todd, Jacob Wolff, Diana Wyenn and Ammunition Theatre Company. NOW 2025 continues with additional programming Nov. 13-15 and Nov. 20-22.
8 p.m Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Culture news and the SoCal scene

Alan Edmunds, a psychologist, is the librettist and writer of “Perfect World,” a musical that tells the story of literary child prodigy Barbara Follet, at the El Portal Theatre.

(Carlin Stiehl / For The Times)

A ‘Perfect’ mystery
The little-known story of a child literary prodigy named Barbara Follett — who published her first novel at 12 and disappeared without a trace at 25 — is the subject of a world-premiere musical, “Perfect World,” at El Portal Theatre. I sat down with librettist and co-lyricist Alan Edmunds to talk about his interest in Follett’s story, and how a deep dive into her archives at Columbia University led him to believe it would be a good candidate for the stage.

Pasadena Playhouse classes ramp up
A bustling theater school is rising on the century-old campus of the Pasadena Playhouse. More than 400 students per semester are now participating in 14 classes tailored for kids as young as 4 years old, as well as adults in their 80s and everyone in-between. “Education is as core to us as the shows on stage,” producing artistic director Danny Feldman told me in a recent interview.

LACMA unionizes
Employees at the Los Angeles County Museum of Art announced earlier this week that they are forming a union, LACMA United, representing more than 300 workers from across all departments, including curators, educators, guest relations associates and others. The move comes just six months before the museum is scheduled to open its new $720-million David Geffen Galleries.

Suntory time for Dudamel
Times classical music critic Mark Swed flew to Tokyo to watch Gustavo Dudamel and the Los Angeles Philharmonic perform two concerts of works by John Adams, Stravinsky and Mahler in Suntory Hall. The stop was part of an Asian tour that also includes Seoul and Taipei.

Manuel Oliver is photographed at the Kirk Douglas Theatre in Culver City on Tuesday, September 2, 2025. Oliver lost his son Joaquin “Guac” Oliver in the Parkland shooting. Manuel Oliver is now bringing his love of his son and his gun-reform activism to the stage in a one-man show called “Guac.”

(Christina House / Los Angeles Times)

A father grieves
Times theater critic Charles McNulty caught a performance of “Guac” at the Kirk Douglas Theatre. Manuel Oliver’s powerful one-man show examines the death — and celebrates the life — of his son, 17-year-old Joaquín Oliver, who was one of 17 people killed in the 2018 mass shooting at Marjory Stoneman Douglas High School in Parkland, Fla. “The production, written and performed by Oliver, turns a parent’s grief into a theatrical work of activism,” writes McNulty.

Theater hot spot
If you know, you know — that’s the verdict on tiny New Theater Hollywood, which has lately taken on an outsize presence on formerly sleepy Theatre Row. “Opening post-pandemic, at a time of rising costs, dwindling audiences and little financial aid, New Theater Hollywood feels like an anomaly. It’s an intricate support system for practitioners to hone their craft in a space dedicated to original theatrical work,” writes Times contributor Emma Madden.

The girl is still having fun
A new musical adaptation of the 1988 film “Working Girl” is premiering at La Jolla Playhouse with score by ‘80s pop icon Cyndi Lauper. Ashley Lee has the scoop.

Wine meets art
The Donum Estate is home to 60 monumental sculptures by artists including Jaume Plensa, Louise Bourgeois, Ai Weiwei, Yayoi Kusama, Keith Haring, Doug Aitken, Robert Indiana and Anselm Kiefer, making it quite possibly “the largest private sculpture collection of any winery in the world,” writes Times contributor Sam Lubell in a story about the unique vineyard in California’s Carneros wine region.

La Jolla Playhouse

(File)

La Jolla, launchpad of musicals
La Jolla Playhouse announced its 2026/2027 season, featuring three world-premiere musicals: The Playhouse-commissioned “The Family Album” (book by Sam Chanse and music and lyrics by MILCK, a.k.a. Connie Lim); “GRIM” (book by Joey Orton and Brad Silnutzer, music and lyrics by Petro AP, Scott Hoying, Joey Orton and Brad Silnutzer): and David Henry Hwang’s “Particle Fever,” with music and lyrics by Bear McCreary and Zoe Sarnak, directed by Tony Award nominee Leigh Silverman.

D.C. arts purge continues
The White House fired all six members of the Commission of Fine Arts earlier this week, according to an exclusive in the Washington Post. That independent federal agency would have reviewed a number of President Trump’s construction projects, “including his planned triumphal arch and White House ballroom.”

Nobel laureate stripped of visa
The first African writer to win the Nobel Prize for literature has been stripped of his U.S. visa by the Trump administration. The Nigerian author and playwright, Wole Soyinka, received notice of the decision from a U.S. consulate in Lagos on Oct. 23, calling it a “rather curious love letter.”

— Jessica Gelt

And last but not least

Happy Halloween! Looking for something truly scary to watch? Try Game 6 of the World Series, which takes place in Toronto tonight.

VICK Hope looked incredible as she made a return to work after giving birth to her first child with Calvin Harris.

The TV and radio host, 36, welcomed son Micah with the Scottish DJ in an Ibiza home birth back in July, and returned to the spotlight at the Glamour Women Of The Year Awards last night.

The mum-of-one, who looked radiant in a strapless pink satin gown, admitted she was “bricking it” as she stepped out on the red carpet for the first time since giving birth.

She pleaded that the crowd “be gentle” with her as she took to the stage to cheers following her return from maternity leave.

The star said she hadn’t slept for 13 weeks, and admitted that she’d been covered in “bright yellow s**t” since giving birth.

And addressing a graphic snap of her placenta, posted by hubby Calvin, she joked: “‘It was posted by my husband but placentas are amazing. I am keen to celebrate motherhood after what my vagina has done – it’s f***ing majestic. 

happy family

Vick Hope shares rare look at Calvin Harris’s Ibiza home and son Micah

ZEN PAD

Calvin Harris & Vick Hope turn Cotswolds estate into health haven with yoga studio

“And now you’ve all seen my placenta too!”

The placenta pic was included in a series of snaps he posted, as he announced the birth of his son on Instagram back in August.

The post, which included images of Vick in a birthing pool, had snaps of her placenta with capsules, suggesting they had it encapsulated, which is an increasingly popular trend.

He wrote in the caption: ““20th of July our boy arrived. Micah is here! My wife is a superhero and I am in complete awe of her primal wisdom! Just so grateful. We love you so much Micah.”

Last week, Vick posted a series of summer highlights on Instagram, and looked radiant as she cradled the couple’s three-month-old son Micah at the couple’s sprawling Spanish residence.

Calvin, 41, bought the stunning 138-acre farm, known as Terra Masia, back in 2022, and the couple have spent much of the summer there, with Vick giving birth in the Ibiza property back in July.

Vick shared a series of snaps with hubby Calvin, along with close family and friends, as she marked the end of summer.

The Radio 1 host was still pregnant in a large chunk of the pics, before sharing adorable snaps with Micah post-birth.

In the caption, she wrote: “A womb with a view, a summer of love and another trip around the sun [sunshine emoji]”.

In one of the pics, Vick is seen cradling her huge baby bump in the Spanish sunshine, with a number of the snaps showcasing her and Calvin’s life as new parents.

The pair are seen pushing young Micah in a pram on the farm residence, along with Calvin holding their son during a seaside walk.

Vick is then seen beaming as she holds their three-month old, wearing a green and yellow halterneck one-piece bikini.

The post received over 40,000 likes as celeb pals and fans showered the new mum-of-one with love in the comments section.

The snaps also reveal a deeper look into Calvin’s huge rural Ibiza property, which he bought after selling his two multi-million pound mansions in Los Angeles.

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The chart-topping DJ and producer’s swanky pad is the largest organic farm in the White Isle.

It can produce veg, eggs, wine and farm-to-table meals, and also hosts special events such as weddings.

Scholes initially kept his son’s diagnosis secret during his playing career and revealed he was dropped by United manager Sir Alex Ferguson while attempting to handle the situation privately.

“I never got a break from it, even when playing – it was very hard in those days,” Scholes, one of United’s key players in the 1999 Treble season, added.

“I don’t think they diagnosed it until he was two-and-a-half years old. But you knew early something was wrong, but then you get the diagnosis, and I’d never heard of it.

“I remember the first time after it, we were playing Derby away and I just didn’t want to be there.

“I remember the manager dropped me the week after, and I hadn’t told anyone. I ended up telling them a few weeks later, as it was quite hard.

“Even now, I don’t want sympathy or anything. I just thought, even if I did speak to someone about it, it’s not going to help Aiden.

“The big concern now is, because you’re getting a bit older, what happens when you’re not here? That’s the thing that’s now on my mind all the time.”

Autism spectrum disorder – its medical name – is the name for a range of conditions that affect how a person communicates and interacts with the world around them, as well as their interests and behaviour.

It is not a disease or an illness, but a condition that somebody is born with, and it is estimated that one in every 100 people in the UK is autistic.

HOLLY Hagan’s Geordie Shore pals have donated thousands to her late sister Darci’s memorial so her family can take time off work to grieve. 

Heartbroken Holly, 33, revealed last week that Darci had passed away aged 19. 

Now her famous friends have rallied around the family during the incredibly difficult time, The Sun can reveal. 

An insider said: “Holly Hagan’s famous pals have donated thousands of pounds to help pay for her tragic sister’s funeral and memorial, and allow them some breathing space from work. 

“Charlotte Crosby and her partner Jake Ankers have donated £2,000, Sophie Kasaei has given £1,000, Adam Frisby £1,000 and Gaz Beadle and Nathan Henry gave £500 each.”

In an emotional statement sharing the tragic news, Holly wrote: “It is with immeasurable grief and sadness that our baby girl, my baby sister Darci Rose passed away peacefully holding my hand surrounded by family and her best friends.

HELL AND BACK

How Holly Hagan overcame miscarriage & hearing loss before sister’s death

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Holly Hagan’s late sister’s best friend says he was ‘with her to the end’

“She was never in any pain.

“The last four days have been something I hope no family ever has to go through.

“We are traumatised in every sense of the word.

“One day we will share Darci’s story. But for now I please ask that you do respect our privacy and allow us to process what has happened.

“To the incredible ambulance crew, and everyone at Manchester Royal Infirmary A&E and ICU, thank you so much for giving my sister the absolute best chance.

“Because of you all we have had the opportunity to hold her hand, stroke her hair and feel her heart beating for the last time.

“We will forever be grateful for the way you have looked after her and us throughout this unimaginable process.”

Holly added: “Right now my job is to support my family in any way that I can to ensure they don’t have to worry about work/finances.

“Any posts you see this month are pre-recorded and scheduled ahead of time. I will be continuing to work, so they do not have to.”

The TV star then reflected on her late sister and recalled some of the fondest memories they shared together.

Holly continued: “Darci is so beautiful and she genuinely didn’t even realise it.

“I always told her she’d look better without the huge spider lashes but we all know what a hypocrite I was being since I wore nine pairs at her age!

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“She lived in Darci world, forgetting to turn lights off, didn’t know how to lock doors after coming in from a night out, leaving the freezer open so my mam came down to a puddle of defrosted food.

“She was the best aunty, Alpha-Jax adored her. She spent his whole birthday on the bouncy castle with AJ and Alba, and that’s a memory I’ll cherish forever.”

Channel 4 soap Hollyoaks fans are convinced they know who shot Tony Hutchinson after he was left fighting for his life on his wedding day

In a shocking turn of events on Hollyoaks, Tony Hutchinson was shot on Wednesday (October 22) episode, leaving viewers in suspense about his fate.

The drama unfolded during a crossover episode with Brookside on Channel 4, where a plane piloted by serial killer Jez (Jeremy Sheffield) crashed into the village, causing a massive explosion.

However, the chaos didn’t stop there. On what was supposed to be his wedding day to Diane (Alex Fletcher), Tony (Nick Pickard) found himself confronted by Darren Osborne (Ashley Taylor Dawson) for having an affair with his wife Nancy (Jessica Fox).

Darren was livid upon discovering that Tony is the biological father of his daughter, Morgan, following a past fling with Nancy. Their heated argument was briefly interrupted by the plane disaster, but quickly resumed, much to the dismay of Tony’s son, Ant Hutchinson (Brook Debio).

Adding to the confusion, Tony believed he had got Marie Fielding (Rita Simons) pregnant, only to find out she was wearing a fake baby bump. Meanwhile, Mercedes McQueen (Jennifer Metcalfe) was also expecting his child, reports the Manchester Evening News.

Tragedy struck when Mercedes lost her baby in the aftermath of the plane crash. Tony had left her trapped under debris as he rushed to save Marie, a decision that will haunt him.

Diane (Alexandra Fletcher) stepped up to rescue Mercedes, mirroring how Mercedes had previously saved her. Now, both Mercedes and Diane are furious with Tony – Mercedes for her heartbreaking loss, and Diane for her groom’s reckless behaviour.

In a later scene, Darren was seen in tears as he pointed a gun at Tony, who pleaded for his life. Suddenly, a gunshot echoed from behind Tony, and he collapsed to the ground after being shot.

Now, Tony’s fate hangs in the balance.

Hollyoaks viewers are now speculating about who could have shot Tony, with some suggesting that his own son Ant might be the culprit following their earlier disagreement.

One fan took to X, formerly known as Twitter, to ask: “So…Who shot Tony? My guess is Ant! #Hollyoaks.”

Another declared: “I’m calling it ant was the one who shot Tony! He was pretty mad at his dad #hollyoaks.”

A third joined in, saying: “My early theory for who shot Tony in #Hollyoaks: It was Ant!”.

“I feel like Ant was probably the 1 that shot Tony #hollyoaks”, another viewer added.

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

Lío Mehiel has been working for a moment like “After the Hunt” for a long time.

Directed by Luca Guadagnino, this thorny morality play of a film set at Yale University pits well-liked professor Alma (played by Julia Roberts) against both her protegé, Maggie (Ayo Edebiri), as well as her longtime friend and colleague Hank (Andrew Garfield) during a scandal that risks her entire academic career.

Amid that starry A-list cast, the actor plays Maggie’s partner, Alex. The film, which had its world premiere in August at the Venice Film Festival, is Mehiel’s most high-profile project yet.

“There is so much time as an artist where you are doing the work and nobody cares and you have to find within yourself the motivation and the commitment and the drive to keep going,” Mehiel tells The Times. “Because you know that when you are going to be able to reach people, it will be worth it.”

Such a step has been years in the making. Mehiel, who lived in Puerto Rico until they were 5 years old, began their creative endeavors almost as soon as they arrived in New York City, first as a salsa dancer and later as an actor. By the time they were in fifth grade they were attending Broadway auditions, eventually booking a role in the 2003 revival of “Cat on a Hot Tin Roof” starring Ashley Judd and Jason Patric.

(L to R) Lio Mehiel as Alex and Ayo Edebiri as Maggie in AFTER THE HUNT, from Amazon MGM Studios.

(Yannis Drakoulidis / Yannis Drakoulidis © 2025 Amazon Content Services LLC. All Rights Reserved)

But as they began finding their own sense of self and body, they also found the kind of opportunities that led them to “After the Hunt.” That began in earnest back in 2023, when they starred in Vuk Lungulov-Klotz’s film “Mutt” as Feña, a role they booked after cold-emailing the director and telling them they’d do anything to win that part. The film chronicled a particularly hectic day in the life of a young trans man in New York City, as he struggles to rekindle old relationships he’d severed since he’d transitioned. Mehiel’s soulful performance won them a Special Jury Award for Acting at the 2023 Sundance Film Festival, putting them on the map as a trans Latine performer to watch.

“Moving forward from ‘Mutt,’ I was really interested in building on that momentum to what’s next,” they say. Not just in terms of their career but in the broader cultural conversation around contemporary queer and trans representation. The following year, they returned to Sundance with Alessandra Lacorazza’s “In the Summers,” which walked away from the festival with the U.S. Dramatic Grand Jury prize — the first for a film directed by a Latina director. Like “Mutt,” that sun-dappled film found Mehiel breathing life into a trans character navigating a thorny relationship with their father (played by renowned Puerto Rican rapper Residente).

Mehiel has long been building a body of work that centers on the very work of having a body. Just this past summer, they visited the Salton Sea for a performance installation titled “angels of a drowning myth.” In photos from that day, Mehiel is seen naked and half-submerged into that so-called sea, posing alongside a bust of their own chest made six months after they’d received top surgery. A portrait of a body twice represented, Mehiel’s piece stressed the solidity and malleability of their own body, and the beauty they find within and around it. Their work moves past familiar ideas of the body in transition, gleefully embracing the messiness of the queer experience and refusing the easy siren call of visibility.

“‘After the Hunt,’ is such a beautiful example of that because Alex is a queer and trans character, but we just see them getting home from a run, taking their shirt off, being with their partner, dealing with stuff that has nothing to do with their queerness,” Mehiel says.

That moment Alex first appears on screen is quintessential Mehiel. Not just because of the honeyed intimacy their sweaty, bare chest exudes. But because their appearance immediately reframes everything audiences have heard about this seemingly militant, radical social justice warrior. Alex at first appears as a figure of “woke” culture there to defy the older generation Roberts’ Alma comes to stand for. But there’s more to them than that.

“Alex doesn’t represent all queer people who have a political orientation in the world, all queer people who might attend a protest,” they explain. “I think what Luca did and what Nora did in the script was to give us all an opportunity to move away from identity politics. Instead, they gave each of the characters enough meat on their bones that they get to be complex, messy characters.”

“After the Hunt” may focus on complicated ethical questions surrounding sexual assault allegations at a university, but within that plot, Mehiel sees also a chance for viewers to catch a glimpse of characters like Maggie and Alex who may not otherwise be centered in such stories.

“I’m just excited that there is more exposure that people are having to queer and trans people and to queer relationships, and how that can fit in the context of a ‘normative’ world,” they add. “This is a movie with Julia Roberts, one of our biggest stars and crown jewels of Hollywood and of American cinema. There’s going to be a lot of folks that are going to see it because Julia is in it. And then they’re also going to get to experience a queer and trans person on screen who is likable in some moments and unlikable in others, just as much as every other character.”

That’s been Mehiel’s purpose for years now: to expand what queer and trans characters can look like on stage, on screen and, in turn, in real life. At a time when these communities are vilified by those who wish to harm them, Mehiel insists on the importance of such normalized visibility.

Lio Mehiel seen at the Los Angeles Premiere of Amazon MGM Studios’ “After The Hunt” at Academy Museum of Motion Pictures on October 04, 2025 in Los Angeles, California.

(Photo by Stewart Cook / Amazon MGM Studios via Getty Images)

“Honestly, exposure to these experiences creates connection more than anything and allows people to feel comfortable,” they add. “Because the political climate right now — for the Latine community and for the trans community — is really hard and heartbreaking and challenging. And I think so much of it has to do with people feeling like they don’t know who these people are.”

A central kernel of the premise of “After the Hunt” is that you never know what someone is going through. And, more to the point, that making assumptions about other people’s experience can be extremely dangerous.

“This movie really serves as a mirror to the people that are watching it,” Mehiel insists. The film confronts audiences with their own biases and refuses any tidy conclusions.

But for Mehiel, the film will forever be remembered as a highlight of a career that is only bound to get bigger and more exciting. Just this year, they spent the summer at the Williamstown Theatre Festival starring in Jeremy O. Harris’ new play as well as serving as head of production for “Mother, Daughter, Holy Spirit,” a grassroots fundraiser for the Trans Justice Funding Project, all while continuing to pursue their various interests as artist, writer, and filmmaker. In that context, “After the Hunt” stands now less as a calling card than as a reminder of how far they’ve come and yet how much further they want to go. That film, now playing in theaters and coming soon to Prime Video, will widen the scope and reach of their artistry.

“Watching it, I was like, ‘I fit right into the fabric of the movie,’” they say. “On a personal journey level, I feel confident that I have the skill, the talent and the experience at this point to work with the masters that I dream of working with (if the sexy French filmmaker, Julia Ducournau, ever reads this interview, she should know that I want to work with her).”

Or, in much simpler terms that echo an ethos they’ve brought to bear on and off screen: “I just feel ready and able to actualize the things that I have been dreaming about for a long time.”

The ongoing government shutdown continues to disrupt flights at times and put pressure on air traffic controllers, who are working without pay.

On Friday evening, airports in Phoenix, Houston and San Diego were reporting delays because of staffing issues, and the Federal Aviation Administration warned that staffing problems were also possible at airports in the New York area, Dallas and Philadelphia.

A day earlier, flights were delayed at New York’s LaGuardia Airport, New Jersey’s Newark airport and Washington’s Reagan National Airport because of air traffic controller shortages. The number of flight delays for any reason nationwide surged to 6,158 Thursday after hovering around 4,000 a day earlier in the week, according to FlightAware.com.

Many FAA facilities are so critically short on controllers that just a few absences can cause disruptions, and Transportation Secretary Sean Duffy has said that more air traffic controllers have been calling in sick since the shutdown began. Early on in the shutdown, there were a number of disruptions at airports across the country, but for the last couple of weeks there haven’t been as many problems.

Duffy said the disruptions and delays will only get worse next week after Tuesday’s payday arrives and “their paycheck is going to be a big fat zero.” He said controllers are telling him they are worried about how to pay their bills and frustrated with the shutdown.

“The stress level that our controllers are under right now, I think is unacceptable,” he said at a news conference Friday at Philadelphia International Airport.

The shutdown is having real consequences, as some students at the controller academy have decided to abandon the profession because they don’t want to work in a job they won’t be paid for, Duffy said.

That will only make it harder for the FAA to hire enough controllers to eliminate the shortage, since training takes years. He said that the government is only a week or two away from running out of money to pay students at the academy.

“We’re getting word back right now from our academy in Oklahoma City that some of our young controllers in the academy and some who have been given spots in the next class of the academy are bailing. They’re walking away,” Duffy said. “They’re asking themselves, ‘Why do I want to go into a profession where I could work hard and have the potential of not being paid for my services?’ ”

The head of the air traffic controllers union, Nick Daniels, joined Duffy. He said that some controllers have taken on second jobs delivering for DoorDash or driving for Uber to help them pay their bills.

“As this shutdown continues, and air traffic controllers are not paid for the vital work that they do day in and day out, that leads to an unnecessary distraction,” Daniels said. “They cannot be 100% focused on their jobs, which makes this system less safe. Every day that this shutdown continues, tomorrow we’ll be less safe than today.”

Airlines and airports across the country have started buying controllers meals and helping them connect with food banks and other services to get through the shutdown.

The greatest concern is for new controllers who might make less than $50,000, but even experienced controllers who make well over six figures while working six days a week may be living paycheck to paycheck without much cushion in their budgets. Daniels said it’s not fair that controllers are facing impossible choices about whether to pay for rent or child care or groceries.

Duffy has said that air traffic controllers who abuse their sick time during the shutdown could be fired.

Republicans and Democrats have been unable to reach an agreement to end the shutdown that began on Oct. 1. Democrats are demanding steps be taken to avoid soaring healthcare premiums for many Americans set to take effect under the GOP spending law adopted this summer. Republicans have said they will negotiate only after ending the shutdown.

The airlines and major unions across the industry have urged Congress to make a deal to end the shutdown.

Air Line Pilots Assn. President Capt. Jason Ambrosi said in a message to his members that he’s concerned about air traffic controllers and other federal employees.

“The safety of millions of passengers and tens of thousands of tons of cargo is in the hands of these workers. Worrying about how they’ll make their mortgage payment or pay for day care is an added stress they do not need,” Ambrosi said.

Democrats have called on Republicans to negotiate an end to the shutdown. Rep. Sam Graves (R-Mo.), chairman of the House Transportation and Infrastructure Committee, put the onus on Democrats.

“Our aviation system has operated safely throughout the shutdown, but it’s putting an incredible and unnecessary strain on the system, and on our air traffic controllers, flight crews, and many other aviation professionals,” Graves said.

Funk writes for the Associated Press. AP writer Rio Yamat contributed to this report.

Ben Stiller has made a lovely, dreamlike film about his parents, the comedian-actors Jerry Stiller and Anne Meara, which is also a film about himself, his sister, Amy Stiller, and his own fatherhood as reflected back by his children and his wife, the actor Christine Taylor. Premiering Friday on Apple TV, “Stiller & Meara: Nothing Is Lost” is a show business story, in large part, but will be emotionally familiar to anyone who has had the occasion to wonder about their parents’ lives, in their parents’ absence.

Though both had set out to be actors — “I carried Eleanora Duse’s life under one arm,” says Anne, “and ‘An Actor Prepares,’ Stanislavski, under the other” — Jerry had been thinking of getting into comedy when he met Anne. They married in 1954, but it wasn’t until 1963 that the conjoined career of Stiller and Maera took off, with an appearance on “The Ed Sullivan Show.” They might play the last two people on Earth meeting for the first time, or an Irish girl and a Jewish boy matched by computer dating. He was a fretful perfectionist who would endlessly rehearse; Anne was naturally funny; she flowed.

As documentary subjects go, the Stillers were not remarkably dysfunctional — no violence, no skeletons — past the not uncommon situation of parents whose work, or fixation on work, often took them away from their kids, physically or mentally, with the added fillip of that work having made them famous. (There are references to Anne’s drinking, which bothered Jerry, but this is not a hole the film runs down, and there’s nothing here to suggest it diminished her life or work.) As different people with different goals — “My mom wanted to be happy independent of performing,” says Ben, “and I think for my dad performing was so important to him it was part of his happiness” — there was tension, but they loved each other, and they loved their kids, and stayed married for 62 years, until Anne’s death in 2015.

Stiller frames the film with his and Amy’s return to the Upper West Side apartment where they were raised in order to clear it out to be sold, providing the opportunity to see what their parents had left behind. (Jerry died in 2020.) And it was a lot — nothing is lost if nothing is thrown away. There are love letters, diaries, scripts, manuscripts. (Anne: “I think Jerry has a need to keep his name going and for some reason he thinks that when we check out and pass over that the Smithsonian institute is going to want his memorabilia.”) Jerry had a habit, amounting to a compulsion, of documenting their life on film and tape; some of their conversations, and arguments, would turn into routines. (“Where does the act end and the marriage begin?” Anne wonders.) Raised voices in another room might be rehearsing or fighting. One routine consisted of escalating declarations of hate: “I hated you before I met you.” “I hated you before you were born.”

They quit playing nightclubs in 1970 (they drove her “meshuggah”), but remained in public view — in guest appearances, game shows and talk shows, where, unlike the highly managed appearances of today, they seemed ready to dish the dirt on themselves, providing Ben Stiller with material for this film. And they went to work as actors, each amassing a long list of screen and stage appearances. Jerry, of course, is now best known from “Seinfeld,” where he played George’s father, Frank Costanza, and “The King of Queens,” acting in nearly 200 episodes.

Much of it has to do with Ben and Amy as children of famous people, of family vacations that became working vacations, and growing up on display. In one clip from “The Mike Douglas Show,” the siblings perform “Chopsticks” as a screechy violin duet. Young Ben, already interested in film and asked by an interviewer if his parents will feature in his movies, says that they won’t: “I’ll be making adventure or a murder or something like that, but never a comedy. I don’t like comedy.”

We get glimpses of Stiller’s own prolific career — in comedy, mostly, as it turned out — as well as confessions of his own failings as a family man. (His children, Quin and Ella, get to have their good-humored but penetrating say, as does Taylor, from whom he separated in 2017, and with whom he reunited during the pandemic.) But there’s no evident resentment on the part of Ben and Amy, just curiosity and self-examination as adults whose own lives have taught them something about being adults, amid the knowledge that their parents had parents, too, and some of their imperfections became imperfections of their own.

Both Anne and Jerry had come from dark places. “Their lives were always reaching for the light,” says the playwright John Guare, whose black comedy “The House of Blue Leaves” Anne performed in off-Broadway. “Why don’t you become a stagehand?” Jerry’s father told him when Jerry first told him of his ambition. “Where do you get off trying to be Eddie Cantor?” Anne’s mother died by suicide. “Your father was kind of a saint, you know,” Christopher Walken tells Ben.

Stiller’s approach is musical; his assembly of clips and photos is musical — poetic, not prosaic. He ends his film with a conversation between Jerry and his aged father, Willie, cut to a montage of the family through time.

“Isn’t this better than anything, just being alive?” says Jerry. “When we go, we’ll go together, you and me”

Willie: “Yeah, OK, hold hands and everything else.”

“You’ll take me to shows again when we get up there?”

“Yeah, when I go I’ll take you any place. … What is this?”

“It’s a tape recorder. … Whatever you say is on that tape. They’ll hear you forever. You’ll never be lost.”

And we see young Ben, filming a camera that’s filming him, as his father steps in behind him.

Do you wish that discovering shows playing at live theaters around Los Angeles was as easy as finding movies in local cinemas? Now it is. A new nonprofit called Theatre Commons L.A. — founded by some of the city’s most prominent theater leaders — launched earlier this week with easy-to-navigate local theater listings for more than 100 houses big and small.

The listings can be filtered by date, neighborhood and genre, and users can simply click on links to buy tickets. I’ve tried it and am happy to report that it takes all the guesswork and Googling out of finding a show that fits your schedule and suits your interests. It also introduced me to a whole host of new shows that I didn’t even realize were playing.

“Theatre Commons LA is about making it easier to make theatre in Los Angeles — and easier for people to find and enjoy it,” wrote Pasadena Playhouse producing artistic director Danny Feldman in an email. “By connecting artists, companies, and audiences, we’re working to build a more connected ecosystem for LA’s bold, local, living theatre.”

That connection is key. Because Los Angeles is a tough city to get a handle on. I’m old enough to remember getting hopelessly lost when I first moved here — crying in my old Toyota Corolla on freeway offramp, clutching a Thomas Guide that I could not make heads or tails of. Ironically, given the subject of this newsletter, I was trying to get to a theater downtown.

Visitors to L.A., and even plenty of seasoned Angelenos, often find the city sprawling and fragmented. The vast landscape is carved up by thriving neighborhoods, each with singular identities molded by unique cultural, business and arts offerings. TCLA aims to bring these diverse theaters together under a common umbrella to pool resources, and promotional and engagement opportunities, as well as to expand a sense of community in a difficult moment for the art form.

“It is no secret that the last few years have been particularly hard for theater in LA from the pandemic to the recent wildfires and curfews,” Center Theatre Group’s artistic director Snehal Desai wrote in an email. “What has become clear during this period is that the Los Angeles theater community is rich in artists, talent and leadership but our resources are scattered and there is not a consolidated place for information and outreach,” he continued. “Theatre Commons LA is a way to bridge those gaps — to share knowledge, opportunities, and support so that everyone, from small ensembles to major institutions, can thrive together. It creates the space our community has been asking for — where artists, institutions, and audiences can come together to imagine what Los Angeles theatre can be next.”

A volunteer steering committee, including Desai and Feldman, launched TCLA and its listings website with the financial support of the Nonprofit Sustainability Initiative. Last month, the Perenchio Foundation made a substantial investment meant to sustain the organization’s future growth, including the hiring of an executive director. (Please see the photo caption above for a list of the other steering committee members.)

Earlier this week also marked The Times’ launch of “The 52 best places to see plays and musicals in Southern California,” curated and written by Times theater critic Charles McNulty, assistant entertainment editor Kevin Crust (who also edits this newsletter) and me. The list contains short summations of each theater’s defining traits and connects to a map that plots each theater in its own pocket of the city. It was a real labor of love and I urge you to use it in conjunction with the new TCLA website to plan your next night out.

I’m arts and culture writer Jessica Gelt, mulling over more than a dozen entertainment options for the weekend. All of them good. Here’s this week’s arts and culture news.

On our radar

Complexions Contemporary Ballet comes to the Music Center on Friday and Saturday.

(Rachel Neville)

Complexions Contemporary Ballet
The New York-based company celebrates its 30th anniversary with “Retro Suite,” a collection of works from 1994 to the present, created by co-founding artistic director and principal choreographer Dwight Rhoden. Complexions is known for its high-energy mashup of traditional ballet with hip-hop and street dance, as well as for the multicultural makeup of its troupe and its novel approach to incorporating visual art and theater into its choreography.
— Jessica Gelt
7:30 p.m. Friday and Saturday; 2 p.m. Sunday. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org

Children make art at the 2024 Grand Ave Arts: All Access event.

(John McCoy)

Grand Ave Arts: All Access
A day of free art, music and culture along downtown Los Angeles’ cultural corridor. Participating institutions include the Broad, Center Theatre Group, Classical California KUSC, Colburn School, Dataland, Gloria Molina Grand Park, L.A. Opera, the L.A. Phil, Los Angeles Central Library, Los Angeles Master Chorale, Metro Art, MOCA, the Music Center and Redcat.
11 a.m.-4 p.m. Saturday. Grand Ave. from Temple to 6th Street, downtown L.A. grandavearts.org

Cyndi Lauper wrote the music and lyrics for the new musical “Working Girl,” based on the 1988 movie.

(Larsen & Talbert / For The Times)

Working Girl
This musical adaption of the 1988 film — directed by Mike Nichols, written by Kevin Wade and starring Harrison Ford, Sigourney Weaver and Melanie Griffith — has assembled an all-star team of its own. The music and lyrics are by Cyndi Lauper, Theresa Rebeck has written the book and Christopher Ashley directs. The Wall Street Cinderella story centers on a Staten Island secretary who, tired of being misused, underestimated and passed over, cunningly takes her corporate future into her own hands in a revenge tale that has everyone rooting for the underdog. Yet another La Jolla Playhouse world premiere that has “Broadway hit” written all over it.
— Charles McNulty
Tuesday through Nov. 30. La Jolla Playhouse, Mandell Weiss Theatre, 2910 La Jolla Village Drive. lajollaplayhouse.org

The week ahead: A curated calendar

FRIDAY
Tiago Rodrigues
In “By Heart,” the Portuguese playwright and actor invites 10 audience members onto the stage to learn a poem as he shares stories of his grandmother and explains the connections created by the words.
8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

SATURDAY
John Giorno
“No Nostalgia,” an exhibition devoted to the late poet, artist and activist (1936-2019) who turned words into performance, sound installation and painting. The show includes a select group of Giorno’s work ranging from early prints to his black-and-white text and rainbow paintings, a selection of materials from Giorno’s archive showing how he pieced together his poems and his 1969 work Dial-A-Poem.
11 a.m.-6 p.m., Tuesday through Saturday, through April 25, 2026. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org

The Los Angeles Chamber Orchestra performs Saturday at Zipper Hall in downtown L.A. and Sunday at the Wallis in Beverly Hills.

(Brian Feinzimer for LACO)

Romantic Resonance
When a talented 19th century French pianist named Louise Farrenc became tired of giving concerts accompanying her flutist husband, she founded Éditions Farrenc in Paris, which became one of the country’s leading music publishing houses. She also gained a smallish reputation as a composer of mainly salon pieces for piano. But she had far greater ambitions nearly impossible for a woman at that time to realize. Farrenc composed three large-scale symphonies that are only now, more than a century after her death in 1875, being noticed. Los Angeles Chamber Orchestra’s music director, Jaime Martín, is one of her champions, and he is pairing Farrenc’s impressive Schumann-esque “Second Symphony,” written in 1845, with Brahms’ “First Piano Concerto,” featuring the dauntingly virtuoso pianist Marc-André Hamelin.
— Mark Swed
7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

Night of Ritual and Revelry
LACMA hosts this after-hours party with a focus on plants. The evening includes open galleries, plant-themed activities, a costume contest, food and drink, plus an outdoor screening of the 1986 cult classic “Little Shop of Horrors” hosted by Meatball. Guests must be 18 or older to attend.
7 p.m. Los Angeles County Museum of Art, Smid Welcome Plaza, 5905 Wilshire Blvd. lacma.org

Ragamala Dance Company performs Saturday at Broad Stage.

(Three Phase Multimedia)

Ragamala Dance Company
Ragamala Dance Company — founded and run by the mother-daughter trio Ranee, Aparna and Ashwini Ramaswamy — brings Aparna’s most recent work, “Ananta, the Eternal,” to BroadStage with live music accompaniment. The company specializes in the South Indian dance form Bharatanatyam, and the troupe is known for its soulful embodiment of classical dance techniques and its bold and beautiful traditional costumes.
— Jessica Gelt
7:30 p.m. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica. broadstage.org

Songs of Emerging Endangerment
This sound installation by artist TJ Shinn, commissioned by the local multidisciplinary arts organization Clockshop, is set to sound hourly from dawn to dusk. The project features a 30-foot-tall sculptural air raid siren that mimics bird calls to map systems of global migration.
Opening Saturday, 2-4 p.m., and through Feb. 22, 2026. Los Angeles State Historic Park. 1245 N. Spring St. clockshop.org

SUNDAY
Colburn Orchestra
Grammy Award-winner Carlos Miguel Prieto conducts the flagship ensemble from the Colburn School of Music in a program featuring Ravel, Dvořák and Schoenberg.
3 p.m. The Saroya, 18111 Nordhoff St., Northridge. thesoraya.org

The Heart Sellers
Lloyd Suh, author of “The Far Country,” a finalist for the 2023 Pulitzer Prize for drama, examines the deracinating effects of immigration in his work. In “The Heart Sellers,” two immigrants, one Filipino, the other Korean, strike up a friendship after a chance meeting at that quintessential American crossroads: the supermarket. Set in 1973, after the 1965 Hart-Celler Act abolished the national quota system that restricted immigration from non-European countries, they bond over what they left behind, the strange universe they’ve entered and the challenge of cooking a frozen turkey. Jennifer Chang directs this comedy about the power of friendship to redefine the idea of home.
— Charles McNulty
Through Nov. 16. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Drive, Costa Mesa. scr.org

MONDAY
Bright Harvest: Powering Earth From Space
This documentary follows Caltech professors Harry Atwater, Ali Hajimiri and Sergio Pellegrino on their quest to provide an endless supply of clean sustainable energy for the 2023 launch of the Space Solar Power Demonstrator. Followed by a Q&A with the three professors and filmmaker Steven Reich. Admission is free; reservations recommended.
7:30 p.m. Beckman Auditorium, Caltech, 332 S. Michigan Ave., Pasadena. caltech.edu

TUESDAY
Carrie
A screening of Brian De Palma’s 1976 adaptation of the Stephen King horror novel, starring Sissy Spacek, Piper Laurie, John Travolta, Amy Irving and William Katt, hosted by drag entertainer Jackie Beat.
7:30 p.m. Tuesday. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org

WEDNESDAY
Pacific Jazz Orchestra’s Big Band With Jane Monheit
Step into the elegant past for a program of timeless swing music, big band standards and seductive ballads.
7 and 9:30 p.m. Wednesday and Thursday. Blue Note L.A., 6372 W. Sunset Blvd. bluenotejazz.com

THURSDAY

Lon Chaney in 1925’s “The Phantom of the Opera.”

(Universal Pictures)

The Phantom of the Opera
L.A. Opera’s tradition of presenting classic silent horror films for Halloween continues this year with the 1925 version of “Phantom” starring Lon Chaney. Frank Strobel conducts the L.A. Opera Orchestra performing Roy Budd’s original score live.
8 p.m. Thursday and Oct. 31. The United Theater on Broadway, 929 S. Broadway, downtown L.A. https://www.laopera.org/performances/2026/phantom-of-the-opera

Mark Ryden
The new solo exhibition “Eye Am” envisions a lurid, mischievous world via twelve paintings and a selection of drawings.
Opening reception 5-8 p.m. Thursday; book signing, 1-3 p.m. Oct. 31; exhibition continues through Dec. 20. Perrotin, 5036. W. Pico Blvd. perrotin.com

Nicole Scherzinger
Just months removed from her Tony Award-winning triumph as Norma Desmond in “Sunset Boulevard” on Broadway, the former Pussycat Dolls singer makes her Walt Disney Concert Hall debut.
8 p.m. Thursday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Culture news and the SoCal scene

The Laura Gardin Fraser “Lee-Jackson Monument” at the “Monuments” exhibit at MOCA.

(Carlin Stiehl / Los Angeles Times)

Los Angeles is home to the “most significant American art museum show right now,” writes Times art critic Christopher Knight in his review of “Monuments,” which opened Thursday at the Brick and the Museum of Contemporary Art’s Geffen Contemporary. Featuring nearly a dozen, mostly Confederate, statues that have been toppled or removed from public spaces over the past decade, the show “pairs cautionary art history with thoughtful and poetic retorts from 20 artists, including a nonprofit art studio,” writes Knight.

I wrote a preview of the show, which includes a few backstories about the people featured in the decommissioned statutes. Men like “newspaper owner Josephus Daniels, who helped foment the 1898 Wilmington massacre in which a mob of more than 2,000 white supremacists killed as many as 300 people in the course of overthrowing the city’s duly elected biracial government.”

Times theater critic Charles McNulty wrote a column examining the ways that various playwrights are engaging with the idea of AI in their work. For examples, he digs into two plays, Lauren Gunderson’s “anthropology,” which is staging its North American premiere in a Rogue Machine Theatre production; and Jordan Harrison’s “Marjorie Prime,” which is having its Broadway premiere this fall. “Gunderson and Harrison are looking ahead to see how AI might be super-charging our disembodiment. To anyone paying attention, business as usual is no longer an option. The very basis of our self-understanding is on the line,” McNulty writes.

“Ha ha ha ha ha ha ha” at Pasadena Playhouse, created and performed by Julia Masli and directed by Kim Noble.

(Jeff Lorch)

McNulty also attended opening night of performance artist and comedian Julia Masli’s one-woman show, “Ha ha ha ha ha ha ha,” at Pasadena Playhouse. He describes the 75-minute improvisational work as “less a traditional comedy show than an experiment in collective consciousness. It doesn’t take much to transform a room of jaded strangers into a representative slice of compassionate humanity.” That’s because Masli devotes her time in the spotlight to solving audience members’ problems, finding their shared empathy in the process.

Times classical music critic Mark Swed has been chronicling the departure of the Los Angeles Philharmonic’s beloved musical and artistic director, Gustavo Dudamel. In a recent column, Swed writes about the hoopla on display during the “first three love-fest weeks of Dudamel’s final season.” There was lots of “Gracias Gustavo” merch, and a daylong “Gracias Gustavo” block party at Beckmen YOLA Center in Inglewood, which included a performance by rapper D Smoke. And let’s not forget Tuesday night’s “Gustavo’s Fiesta” at Walt Disney Concert Hall. Dudamel also gave “four soul-searching performances of Mahler’s Symphony No. 2,” Swed writes. “His Mahler is neither overly exuberant nor constrained by grief and Berliner decorum. This performance heralds a new Dudamel, conductor of prophetic grandeur.”

A rendering of a still image from Refik Anadol’s giant LED wall, “Living Paintings Immersive Editions,” at Jeffrey Deitch.

(From Refik Anadol Studio)

Last September, I wrote a feature on immersive media artist Refik Anadol and his plans to open the world’s first museum of AI arts, called Dataland, in downtown’s Grand L.A. complex across the street from Walt Disney Concert Hall. Anadol hoped to open the museum — which features five distinct galleries in a 20,000-square-foot space — this year. But this week, the artist announced that the project is now set to debut next spring. Anadol also released a first look at one of the galleries called Infinity Room. You can watch the teaser, here.

Everybody is talking about the brazen jewel heist at the Louvre. You can almost hear the key-clacking of dozens of hopeful screenwriters already drafting their spec scripts. The story is too outrageous to feel true — masked men cutting through a window in broad daylight and entering a gallery full of people before escaping without a trace on a pair of motorcycles. The value of the precious jewels they got away with is estimated to be about $102 million. If you have been living under a rock for the past week, you can read all about it, here.

— Jessica Gelt

And last but not least

Did you know that L.A. is experiencing a golden age of pizza? Neither did I. Fortunately, Times food critic Bill Addison has compiled a list featuring 21 of the city’s best slices.

WASHINGTON — The White House started tearing down part of the East Wing, the traditional base of operations for the first lady, to build President Trump’s $250-million ballroom despite lacking approval for construction from the federal agency that oversees such projects.

Dramatic photos of the demolition work that began Monday showed construction equipment tearing into the East Wing façade and windows and other building parts in tatters on the ground. Some reporters watched from a park near the Treasury Department, which is next to the East Wing.

On Wednesday, the New York Times reported that the plan now called for the demolition of the entire East Wing and that the tear-down should be completed by Sunday. Citing a source, The Times said it marks an escalation over earlier plans for the ballroom.

Trump announced the start of construction in a social media post and referenced the work while hosting 2025 college baseball champs Louisiana State University and LSU-Shreveport in the East Room. He noted the work was happening “right behind us.”

“We have a lot of construction going on, which you might hear periodically,” he said, adding, “It just started today.”

The White House has moved ahead with the massive construction project despite not yet having sign-off from the National Capital Planning Commission, which approves construction work and major renovations to government buildings in the Washington area.

Its chairman, Will Scharf, who is also the White House staff secretary and one of Trump’s top aides, said at the commission’s September meeting that the agency does not have jurisdiction over demolition or site preparation work for buildings on federal property.

“What we deal with is essentially construction, vertical build,” Scharf said last month.

It was unclear whether the White House had submitted the ballroom plans for the agency’s review and approval. The White House did not respond to a request for comment and the commission’s offices are closed because of the government shutdown.

The Republican president had said in July when the project was announced that the ballroom would not interfere with the mansion itself.

“It’ll be near it but not touching it and pays total respect to the existing building, which I’m the biggest fan of,” he said of the White House.

The East Wing houses several offices, including those of the first lady. It was built in 1902 and and has been renovated over the years, with a second story added in 1942, according to the White House.

Karoline Leavitt, the White House press secretary, said those East Wing offices will be temporarily relocated during construction and that wing of the building will be modernized and renovated.

“Nothing will be torn down,” Leavitt said when she announced the project in July.

Trump insists that presidents have desired such a ballroom for 150 years and that he’s adding the massive 90,000-square-foot, glass-walled space because the East Room, which is the largest room in the White House with an approximately 200-person capacity, is too small. He also has said he does not like the idea of hosting kings, queens, presidents and prime ministers in pavilions on the South Lawn.

Trump said in the social media announcement that the project would be completed “with zero cost to the American Taxpayer! The White House Ballroom is being privately funded by many generous Patriots, Great American Companies, and, yours truly.”

The ballroom will be the biggest structural change to the Executive Mansion since the addition in 1948 of the Truman Balcony overlooking the South Lawn, even dwarfing the residence itself.

At a dinner he hosted last week for some of the wealthy business executives who are donating money toward the construction cost, Trump said the project had grown in size and now will accommodate 999 people. The capacity was 650 seated people at the July announcement.

The White House has said it will disclose information on who has contributed money to build the ballroom, but has yet to do so.

Trump also said at last week’s event that the head of Carrier Global Corp., a leading manufacturer of heating, ventilation and air-conditioning systems, had offered to donate the air-conditioning system for the ballroom.

Carrier confirmed to the Associated Press on Monday that it had done so. A cost estimate was not immediately available.

“Carrier is honored to provide the new iconic ballroom at the White House with a world-class, energy-efficient HVAC system, bringing comfort to distinguished guests and dignitaries in this historic setting for years to come,” the company said in an emailed statement.

The clearing of trees on the south grounds and other site preparation work for the construction started in September. Plans call for the ballroom to be ready before Trump’s term ends in January 2029.

Superville writes for the Associated Press.

LOVE Island host Maya Jama has revealed that she was put on an IV drip after falling ill.

Taking to her Instagram stories in Tuesday, the stunning hostess with the mostess was working while hooked up to a drip.

“The flu struck,” she revealed alongside a photo of her with the IV drip in her arm.

Maya could be seen getting her makeup done while on set, with her hair in rollers.

As people flocked around the TV star and did her hair and makeup, someone else tended to her IV drip.

Maya explained how the IV drip came to “save the day”.

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Maya Jama looks incredible as she shows off curves in a stunning floral gown

She later shared snaps of her dinner after heading out for a swanky meal.

It seems Maya is battling through the flu and continuing to work hard despite feeling under the weather.

Maya recently shed light on the mounting speculation over her Love Island hosting role – after we reported she hadn’t signed a contract earlier this year.

Eager to open up on her plans Maya took to social media and referred to the speculation she was about to walk away, before revealing she would be back.

“I did tell you if you were going to hear any news about it, it would come from me and me only,” she said.

“I will be hosting next year, I’ll be back for All Stars in January and then summer series in June and July. We go again, mother lovers.”

She also explained why she is not back hosting US spin-off, Love Island Games, which she presented the first series of.

She added: “Oh and I am obviously not hosting Love Island Games this year, as much as I love the show I physically could not host three Love Island series a year but Ariana [Madix] is doing a great job and I hope you are enjoying that one too.”

It comes as ITV chiefs offered Maya a deal reported to be worth nearly £2million to stay on.

It was believed Maya has been planning to walk away to explore work with streaming giant Netflix.

This comes as Maya’s footballer boyfriend Reuben Dias was slammed for posting footage of a bullfight.

He was recently on a lavish Portuguese holiday with the Love Island presenter.

Manchester City’s defender Dias, 28, shared the clip showing eight men surrounding one enraged beast.

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Football fans slammed the video, saying it was cruel to the animal and said they felt let down by the £53million player.

One appalled fan wrote under Dias’ video on Instagram: “So disappointed to see the bullfighting. Unfollowing.”

Maria worked cleaning schools in Florida for $13 an hour. Every two weeks, she’d get a $900 paycheck from her employer, a contractor. Not much — but enough to cover rent in the house that she and her 11-year-old son share with five families, plus electricity, a cellphone and groceries.

In August, it all ended.

When she showed up at the job one morning, her boss told her that she couldn’t work there anymore. The Trump administration had terminated the Biden administration’s humanitarian parole program, which provided legal work permits for Cubans, Haitians, Venezuelans and Nicaraguans like Maria.

“I feel desperate,’’ said Maria, 48, who requested anonymity to talk about her ordeal because she fears being detained and deported. “I don’t have any money to buy anything. I have $5 in my account. I’m left with nothing.’’

President Trump’s sweeping crackdown on immigration is throwing foreigners like Maria out of work and shaking the American economy and job market. And it’s happening at a time when hiring is already deteriorating amid uncertainty over Trump’s tariffs and other trade policies.

Immigrants do jobs — cleaning houses, picking tomatoes, painting fences — that most native-born Americans won’t, and for less money. But they also bring the technical skills and entrepreneurial energy that have helped make the United States the world’s economic superpower.

Trump is attacking immigration at both ends of the spectrum, deporting low-wage laborers and discouraging skilled foreigners from bringing their talents to the United States.

And he is targeting an influx of foreign workers that eased labor shortages and upward pressure on wages and prices at a time when most economists thought that taming inflation would require sky-high interest rates and a recession — a fate the United States escaped in 2023 and 2024.

“Immigrants are good for the economy,’’ said Lee Branstetter, an economist at Carnegie-Mellon University. “Because we had a lot of immigration over the past five years, an inflationary surge was not as bad as many people expected.”

More workers filling more jobs and spending more money has also helped drive economic growth and create still more job openings. Economists worry that Trump’s deportations and limits on even legal immigration will do the reverse.

In a July report, researchers Wendy Edelberg and Tara Watson of the centrist Brookings Institution and Stan Veuger of the right-leaning American Enterprise Institute calculated that the loss of foreign workers will mean that monthly U.S. job growth “could be near zero or negative in the next few years.’’

Hiring has already slowed significantly, averaging a meager 29,000 a month from June through August. (The September jobs report has been delayed by the ongoing shutdown of the federal government.) During the post-pandemic hiring boom of 2021-23, by contrast, employers added a stunning 400,000 jobs a month.

The nonpartisan Congressional Budget Office, citing fallout from Trump’s immigration and trade policies, downgraded its forecast for U.S. economic growth this year to 1.4% from the 1.9% it had previously expected and from 2.5% in 2024.

‘We need these people’

Goodwin Living, an Alexandria, Va., nonprofit that provides senior housing, healthcare and hospice services, had to lay off four employees from Haiti after the Trump administration terminated their work permits. The Haitians had been allowed to work under a humanitarian parole program and had earned promotions at Goodwin.

“That was a very, very difficult day for us,” Chief Executive Rob Liebreich said. “It was really unfortunate to have to say goodbye to them, and we’re still struggling to fill those roles.’’

Liebreich is worried that 60 additional immigrant workers could lose their temporary legal right to live and work in the United States. “We need all those hands,’’ he said. “We need all these people.”

Goodwin Living has 1,500 employees, 60% of them from foreign countries. It has struggled to find enough nurses, therapists and maintenance staff. Trump’s immigration crackdown, Liebreich said, is “making it harder.’’

The ICE crackdown

Trump’s immigration ambitions, intended to turn back what he calls an “invasion’’ at America’s southern border and secure jobs for U.S.-born workers, were once viewed with skepticism because of the money and economic disruption required to reach his goal of deporting 1 million people a year. But legislation that Trump signed into law July 4 — and which Republicans named the One Big Beautiful Bill Act — suddenly made his plans plausible.

The law pours $150 billion into immigration enforcement, setting aside $46.5 billion to hire 10,000 Immigration and Customs Enforcement agents and $45 billion to increase the capacity of immigrant detention centers.

And his empowered ICE agents have shown a willingness to move fast and break things — even when their aggression conflicts with other administration goals.

Last month, immigration authorities raided a Hyundai battery plant in Georgia, detained 300 South Korean workers and showed video of some of them shackled in chains. They’d been working to get the plant up and running, bringing expertise in battery technology and Hyundai procedures that local American workers didn’t have.

The incident enraged the South Koreans and ran counter to Trump’s push to lure foreign manufacturers to invest in America. South Korean President Lee Jae Myung warned that the country’s other companies might be reluctant about betting on America if their workers couldn’t get visas promptly and risked getting detained.

Sending Medicaid recipients to the fields

America’s farmers are among the president’s most dependable supporters.

But John Boyd Jr., who farms 1,300 acres of soybeans, wheat and corn in southern Virginia, said that the immigration raids — and the threat of them — are hurting farmers already contending with low crop prices, high costs and fallout from Trump’s trade war with China, which has stopped buying U.S. soybeans and sorghum.

“You’ve got ICE out here, herding these people up,’’ said Boyd, founder of the National Black Farmers Assn. “[Trump] says they’re murderers and thieves and drug dealers, all this stuff. But these are people who are in this country doing hard work that many Americans don’t want to do.’’

Boyd scoffed at Agriculture Secretary Brooke Rollins’ suggestion in July that U.S.-born Medicaid recipients could head to the fields to meet work requirements imposed as part of the One Big Beautiful Bill Act. “People in the city aren’t coming back to the farm to do this kind of work,’’ he said. “It takes a certain type of person to bend over in 100-degree heat.’’

The Trump administration admits that the immigration crackdown is causing labor shortages on the farm that could translate into higher prices at the supermarket.

“The near total cessation of the inflow of illegal aliens combined with the lack of an available legal workforce results in significant disruptions to production costs and [threatens] the stability of domestic food production and prices for U.S. consumers,’’ the Labor Department said in an Oct. 2 filing to the Federal Register.

‘You’re not welcome here’

Jed Kolko of the Peterson Institute for International Economics said that job growth is slowing in businesses that rely on immigrants. Construction companies, for instance, have shed 10,000 jobs since May.

“Those are the short-term effects,’’ said Kolko, a Commerce Department official in the Biden administration. “The longer-term effects are more serious because immigrants traditionally have contributed more than their share of patents, innovation, productivity.’’

Especially worrisome to many economists was Trump’s sudden announcement last month that he was raising the fee on H-1B visas, meant to lure hard-to-find skilled foreign workers to the United States, from as little as $215 to $100,000.

“A $100,000 visa fee is not just a bureaucratic cost — it’s a signal,” said Dany Bahar, senior fellow at the Center for Global Development. “It tells global talent: You are not welcome here.”

Some are already packing up.

In Washington, D.C., one H-1B visa holder, a Harvard graduate from India who works for a nonprofit helping Africa’s poor, said Trump’s signal to employers is clear: Think twice about hiring H-1B visa holders.

The man, who requested anonymity, is already preparing paperwork to move to the United Kingdom.

“The damage is already done, unfortunately,’’ he said.

Associated Press writers Wiseman and Salomon reported from Washington and Miami, respectively. AP writers Fu Ting and Christopher Rugaber in Washington contributed to this report.

I can’t think of another time that I was quite as terrified as when I walked alone into an interactive horror maze called “Feast” at a chilling carnival-like event called “The Queen Mary’s Dark Harbor: Summoned by the Seas,” which takes place in the parking lot in front of the famously haunted ship, and also in the creepy bowels of its engine rooms, through Nov. 2.

“Dark Harbor,” is the scarier sister event to Griffith Park’s famous “Haunted Hayride.” Both Halloween season fright fests are produced by Thirteenth Floor Entertainment Group, which specializes in seasonal terror. The highlight of the nightly carnivals — which include food and drink booths, bars and rides — are a series of interactive mazes populated by bloody monsters, drooling ghouls, murderous clowns, spectral ghosts and maniacal serial killers.

The spooks are largely played by local actors — many of whom come back year after year for a guaranteed paycheck while pursuing a profession that is anything but financially sound. It is to these hardworking artists that the events owe their success. I was struck by just how dedicated the actors were to scaring us mere mortals out of our pants.

The masks, elaborate makeup and props, including butcher knives and bats, surely help the players stay in character— but this is not easy work. The actors must contend with aggressive guests who try to get in their faces (this is against the rules), as well as shrill, shrieking patrons who jump and run as they approach (guilty!).

But the actors are specially trained to handle these reactions and more.

“Each fall, Queen Mary’s Dark Harbor and Los Angeles Haunted Hayride hire a few hundred performers, most of our cast are locals who come back year after year. We hold open calls in the summer and focus on energy, movement, and presence more than traditional acting experience,” wrote “Dark Harbor‘s” general manager, Star Romano, in an email.

After the performers are hired, Romano explained, they attend orientation, safety training and rehearsals leading into opening weekend.

“It’s a huge community effort, part performance, part team reunion, and one of my favorite things about the season,” Romano wrote.

The result of those efforts led to me sleeping with the lights on for two nights straight.

“Get away from me! I’m too scared!” I shouted at one Leatherface-type character as he approached me with a chain saw.

“That’s the whole point,” he growled under his breath before obeying my wishes and lurching off toward another fear-stricken guest.

(NOTE: For a kid-friendly immersive Halloween experience, you can head to the company’s “Magic of the Jack O’Lanterns,” which features 5,000 hand-carved pumpkins on-site at South Coast Botanic Garden.)

I’m arts and culture writer Jessica Gelt, inviting you to sink into spooky season with me. Here’s your weekly arts and culture news.

On our radar

Benjamin Millepied’s L.A. Dance Project performs “On the Other Side.”

(Laurent Philippe)

L.A. Dance Project
Renowned choreographer Benjamin Millepied continues his exploration of the intersection of dance and visual art with the ballet triptych “Gems,” featuring artwork by collaborators Barbara Kruger, Liam Gillick, Mark Bradford and others. The performance is composed of three contemporary ballets inspired by precious stones: “Reflections” (2013), “Hearts & Arrows” (2014) and “On the Other Side” (2016). The show — with music by David Lang and Philip Glass — marks the first time these pieces have been staged together.
— Jessica Gelt
7:30 p.m. Thursday through Oct. 25. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. https://thewallis.org/show-details/la-dance-project-gems

New York artist Jon Henry stages photographs that reflect on reports of Black men killed by police.

(The Brick)

Monuments
The most eagerly anticipated theme exhibition this fall is reflected in the emphatic title, pointedly written all in caps. “MONUMENTS” was inspired by the wave of revulsion following the violent 2017 white supremacist Unite the Right rally in Charlottesville, Va. — a deadly riot opposing the proposed removal of a local statue of Confederate Gen. Robert E. Lee. That statue is now gone, torn down along with some 200 other tributes across the country to American turncoats who supported chattel slavery. (The last known Confederate monument in Southern California was removed in 2020.)
A selection of decommissioned Confederate statues will be shown at MOCA and alternative space the Brick, joint organizers of the exhibition; they’ll be paired with contemporary work by Bethany Collins, Stan Douglas, Leonardo Drew, Jon Henry, Martin Puryear, Hank Willis Thomas, Kara Walker and a dozen other artists, borrowed and commissioned for the occasion.
— Christopher Knight
Thursday through May 3, 2026. Geffen Contemporary at Museum of Contemporary Art, 152 N. Central Ave., Little Tokyo; The Brick, 518 N. Western Ave. moca.org

Vikingur Olafsson will perform with conductor Santtu-Matias and Philharmonia.

(Timothy Norris / Los Angeles Philharmonic)

Santtu-Matias Rouvali and Vikingur Ólafsson join the Philharmonia Orchestra
It’s been almost a decade since Finnish conductor Santtu-Matias Rouvali, a former Dudamel Fellow at the L.A. Phil, last returned to Southern California as a guest conductor of the L.A. Phil. In the meantime, though, he’s been busily attracting attention in London as principal conductor of the Philharmonia Orchestra (having succeeded Esa-Pekka Salonen in 2021). For his first local appearance with the Philharmonia, he is joined by the stellar Icelandic pianist Vikingur Ólafsson in Ravel’s Piano Concerto in G. The program also includes the local premiere of a new score meant to awaken environmental awareness, popular Mexican composer Gabriela Ortiz’s “Si el Oxígeno Fuera Verde” (If Oxygen Were Green), along with Shostakovich‘s Fifth Symphony. Shortly after fall, Ólafsson heads back to Disney in January as soloist with the L.A. Phil for John Adams’ latest piano concerto, “After the Fall.”
— Mark Swed
8 p.m. Tuesday. Renée & Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa. philharmonicsociety.org

The week ahead: A curated calendar

FRIDAY

Ethan Remez-Cott, left, and Matthew Goodrich in the play “Amerika or, The Man Who Disappeared.”

(Amanda Weier)

Amerika or, The Man Who Disappeared
There’s Kafkaesque and then there’s the genuine article. Open Fist Theatre Company presents the world premiere of Dietrich Smith’s adaptation of the Franz Kafka novel that details the strange experiences of a 17-year-old European immigrant after he arrives in New York City aboard a steamer.
7:30 p.m. Friday; 7 p.m. Saturday; 2 p.m. Sunday; and 7:30 p.m. Monday, Oct. 20; through Nov. 22. Atwater Village Theatre, 3269 Casitas Ave. openfist.org

Ms. Holmes & Ms. Watson–Apt. 2B
Two free-spirited roommates embrace mystery and adventure in the L.A. premiere of Kate Hamill’s dark modern comedy, a gender-bent spin on Sir Arthur Conan Doyle directed by Amie Farrell.
7:30 p.m. Thursday-Saturday; 2 p.m. Sunday through Nov. 2. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org

नेहा & Neel
Asian American theater collective Artists at Play and Latino Theater Company collaborate for the world premiere of Ankita Raturi’s new comedy about an Indian immigrant and single mom on a cross-country college tour with her 17-year-old American-born son. Directed by East West Players artistic director Lily Tung Crystal.
Through Nov. 16. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org

17th OC Japan Fair
Japanese culture festival featuring food, shopping, a cosplay show, a tuna cutting show, popular Japanese entertainers, traditional instrument performances, games, kimono models meet and greet, and more.
4 p.m.-10 p.m. Friday; noon-10 p.m. Saturday; 11 a.m.-7 p.m. Sunday. OC Fair & Event Center, 88 Fair Drive, Costa Mesa. oc-japanfair.com

David Roussève will perform “Becoming Daddy AF” Friday and Saturday at the Nimoy.

(Rachel Keane)

Becoming Daddy AF
Renowned dance-theater artist David Roussève presents the West Coast premiere of his experimental movement journey “Becoming Daddy AF.” The piece marks Roussève’s first full-length solo performance in more than two decades and explores themes that have touched and shaped his life, including HIV, genealogy and the loss of his husband of 26 years. (Jessica Gelt)
8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Unravelled
The story of Canadian biologist Dr. Anne Adams, who turned to painting at age 53, and her remarkable connection to French composer Maurice Ravel, with whom she shared the same rare brain disease. A play infused with music and visual art, written by Jake Broder and directed by James Bonas.
7:30 p.m. Friday and Saturday; 2 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

SATURDAY

British artist Edmund de Waal will install new work in three sites at the Huntington, including the Chinese garden.

(Linnea Stephan)

The Eight Directions of the Wind
British artist, potter and writer Edmund de Waal is obsessed with archives, which he describes as “places, streets, hillsides as much as card indexes.” For a body of new work, he once traveled to the place in China where the clay used to make porcelain was discovered — and then on to Dresden, Germany; Cornwall, U.K.; and the Appalachian Mountains, where subsequent cultures reinvented it. De Waal’s three site-specific, yearlong installations will be in the Huntington’s cultural and natural “archives” that are its art gallery and Chinese and Japanese gardens. (Christopher Knight)
Through Oct. 26, 2026. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Lorde performs Saturday at the Kia Forum.

(Scott A Garfitt / Invision/AP)

Lorde
Just as her generation has, by all accounts, sobered up and gone sexless, Lorde returned this year with a defiant album about the giddy rush of partying and the frightening ramifications of a body in search of pleasure. “Virgin” pulls her back to the experimental electro-pop many fans were hoping for after the relatively complacent “Solar Power,” and the album is brimming with startling meditations on pregnancy scares, familial inheritance and the malleability of gender. (August Brown)
7 p.m. Kia Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com

Orchidées
Cellist Kate Ellis performs composer Nick Roth’s cello étude — which traces the 100‑million‑year evolution of orchids by translating their DNA sequences into music — accompanied by time‑lapse footage of blooming specimens from the Huntington’s orchid collection. Also available to livestream.
7 p.m. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Tortoise
The lauded post-punk band performs “Touch,” their first new album in nine years with opening sets from local duo Jeremiah Chiu & Marta Sofia Honer and KCRW DJ Ale Cohen.
8 p.m. Saturday. The Broad, outdoor East West Bank Plaza, 221 S. Grand Ave., downtown L.A. thebroad.org

TUESDAY
A Concert for Lowell
A memorial tribute to Lowell Hill, one of the great patrons of new music in L.A., featuring many of the city’s top local artists, including Wild Up, MicroFest, Piano Spheres, the Industry, Partch Ensemble, Monday Evening Concerts, Long Beach Opera and People Inside Electronics.
8 p.m. Monk Space, 4414 W. 2nd Street. brightworknewmusic.com

Morgan Siobhan Green as Eurydice and Nicholas Barasch as Orpheus in the 2022 “Hadestown” North American Tour.

(T Charles Erickson)

Hadestown
The Tony and Grammy Award-winning musical that reimagines the myth of Orpheus and Eurydice as a New Orleans-style folk opera returns on its latest national tour. “Born out of a concept album by Anaïs Mitchell, who wrote the book, lyrics and music, the show travels to the underworld and back again with liquified grace,” wrote Times theater critic Charles McNulty in a 2022 review. “Developed by Rachel Chavkin, the resourceful director who won a Tony for her staging, ‘Hadestown’ achieves a fluidity of musical theater storytelling that makes an old tale seem startlingly new.”
Through Nov. 2. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com

Learning to Draw
The exhibition traces a 300-year evolution of artistic training and the mastery of drawing in Europe from about 1550 to 1850. Bringing together the physical control of the hand and the concentration of the mind, the foundational artistic act became essential to exploring, inventing and communicating visual ideas in the modern world.
Through Jan. 25, 2026. Getty Museum, 1200 Getty Center Drive. getty.edu

Dispatch: Ben Platt: Live at the Ahmanson

Actor, singer and songwriter Ben Platt stands for a portrait at the Bernard B. Jacobs Theatre in New York on Thursday, April 20, 2023.

(Justin Jun Lee / For The Times)

Breaking news sure to make L.A. musical theater fans swoon: Center Theatre Group announced Friday that Broadway superstar Ben Platt will be in residency for two weeks and 10 shows at the Ahmanson Theatre , Dec. 12–21. Two-time Tony Award-winning director Michael Arden is set to direct the the residency, appropriately titled, “Ben Platt: Live at the Ahmanson.” Platt’s appearance comes a year after he staged a wildly successful three-week residency at Broadway’s Palace Theatre, which included a cornucopia of famous special guests including Cynthia Erivo, Nicole Scherzinger, Jennifer Hudson, Kacey Musgraves, Sam Smith, Micaela Diamond and Shoshana Bean. The production is staying mum on who might appear onstage alongside Platt during his L.A. run, but it’s safe to expect more big names.

“When you think of the very best in musical theatre, it simply doesn’t get any better than Ben Platt, whose stage presence and charisma make him one of the seminal performers of his generation,” said CTG’s artistic director, Snehal Desai, in a news release that promised “the holiday event of the season.”

Tickets and information can be found at centertheatregroup.org.

Culture news and the SoCal scene

Bassist Tonya Sweets, from left, Marlon Alexander Vargas and drummer Dee Simone in “littleboy/littleman,” directed by Nancy Medina, at Geffen Playhouse.

(Jeff Lorch)

A tale from a land of immigrants
Rudi Goblen’s “littleboy/littleman” is in the midst of its world premiere at the Geffen Playhouse. The two-person show about two Nicaragua-born brothers is much like a performance piece, writes Times theater critic Charles McNulty in his review. It’s also a deeply American story. “Lest we forget our past, America is the great democratic experiment precisely because it’s a land of immigrants. Out of many, one — as our national motto, E pluribus unum, has it. How have we lost sight of this basic tenet of high school social studies?” McNulty writes.

Les Miz at 40
I went backstage at the Pantages for the opening night of “Les Misérables,” which happened to coincide with the 40th anniversary of the legendary musical. The mood was euphoric and everyone in the cast and crew seemed to have a story about a formative connection to the show. Stage manager Ken Davis walked me through the maze-like wings and filled me in on what it takes to tour a show of this scale. Of particular note: The touring production travels with 11 tractor trailers containing over 1,000 costumes, 120 wigs and hundreds of props.

Patrick Martinez, “Fallen Empire,” 2018, mixed media

(Michael Underwood)

When the sum is less than the whole
Times art critic Christopher Knight was not impressed by “Grounded,” a newly opened exhibition at the Los Angeles County Museum of Art. The show’s theme, rooted in recent acquisitions of contemporary art, is promising, but ultimately falls apart. Viewed as a whole, “the 39 assembled contemporary paintings, sculptures, photographs, textiles and videos by 35 artists based in the Americas and areas of the Pacific underperform,” writes Knight. “Sometimes that’s because the individual work is bland, while elsewhere its pertinence to the shambling theme is stretched to the breaking point,” Knight writes.

Remembering Bernstein
Tuesday marked the 35th anniversary of Leonard Bernstein’s death, and reminders of the great composer’s tributes to John F. Kennedy abound, writes Times classical music critic Mark Swed. In a piece of commentary about what Bernstein’s work can teach us about memorials, Swed examines multiple L.A. productions rooted in that work, including L.A. Opera’s “West Side Story” and Martha Graham Dance Company’s “En Masse” at the Soraya. Swed also wonders whether those important pieces will reach the Trump administration’s newly configured Kennedy Center in the spring.

Guests attend the K.A.M.P. family fundraiser at the Hammer Museum on Oct. 12, 2025, in Los Angeles.

(Stefanie Keenan / Getty Images for Hammer Museum)

Everyone went home happy
UCLA’s Hammer Museum raised nearly $200,000 last weekend with its 16th annual K.A.M.P. (Kids Art Museum Project) fundraiser. More than 700 excited parents and children showed up at the gloriously messy event co-chaired by Aurele Danoff Pelaia and Talia Friedman. Kids roamed the courtyard over the course of four hours, creating art at stations set up and manned by participating artists including Daniel Gibson; Sharon Johnston and Mark Lee of the Johnston Marklee architecture firm; Annie Lapin; Ryan Preciado; Rob Reynolds; Jennifer Rochlin; Mindy Shapero; Brooklin A. Soumahoro; and Christopher Suarez. Fairy Gardens were constructed of thick clay and foraged leaves; cardboard boxes were painted with rollers; plates were spray-painted and affixed with knickknacks and jewelry; and geometric shapes were glued to canvases and painted an array of bright colors. Children went home with their art, and parents left knowing they supported a host of free Hammer Kids programs that serve thousands of children and families annually.

Fair wages on Broadway
Musicians working on Broadway, represented by AFM Local 802, voted to authorize a strike earlier this week — with 98% in favor. The nearly 1,200 musicians have been working without a contract since Aug. 31. According to an open letter the musicians sent to the Broadway League on Oct. 1, their demands include: “Fair wages that reflect Broadway’s success. Stable health coverage to allow musicians and their families to enjoy the health benefits that all workers deserve. Employment and income security so that hardworking freelance musicians have some assurance of job security. This includes not eliminating current jobs on Broadway.” Bargaining talks are ongoing.

Gene Hackman co-stars in “Bonnie and Clyde,” alongside Warren Beatty and Faye Dunaway.

(Associated Press)

Gene Hackman, art collector
The late actor Gene Hackman’s art collection will go up for auction through Bonhams in November. Highlights of the 13-piece collection — which is being offered as a single-owner sale — include works by Milton Avery, Auguste Rodin and Richard Diebenkorn. Hackman was passionate about art throughout his life, and took an extra-special interest in it after he stopped acting. During that time he dedicated himself to taking classes and art-making. He even kept a journal of everything he learned, according to Bonhams.

Historic homes tour
Paging architecture fans: It’s not too late to reserve a spot in Dwell’s open-house event, back in L.A. for its second year. Tours of three historically significant Eastside homes are on offer during the day-long event, which launches from Frank Lloyd Wright’s Hollyhock House in Barnsdall Art Park. The three additional houses in the tour are: Richard Stampton’s Descanso House in Silver Lake; Taalman Architecture, Terremoto, and interior designer Kathryn McCullough’s Lark House in Mount Washington; and Fung + Blatt’s San Marino House in — you guessed it — San Marino.

— Jessica Gelt

And last but not least

Still feeling sad about losing Diane Keaton? Me too. Here’s a list I put together of her 10 most important films. Watch one you haven’t seen — if that’s possible.