A lot has changed since Jacori Perry attended Morningside High School.
Perry is now a renowned artist who goes by the names Mr. Ace and AiseBorn.
The school is now known as Inglewood High School United.
And the lecture hall on that campus now features a large, ornate mural of a soccer ball being grasped by the hands of two people — freshly painted by the 2004 Morningside graduate as the city of Inglewood prepares to host eight World Cup games at SoFi Stadium starting next month.
Local artist Mr. Ace works on his mural at Inglewood High School United on May 11. The artist, whose real name is Jacori Perry, attended the school when it was known as Morningside High more than two decades ago.
(Eric Thayer / Los Angeles Times)
“If you told me that I would be back here painting one of the walls on this campus when I was in high school, I don’t think that I necessarily would have foreseen it,” Mr. Ace said as he put the finishing touches on his mural last week. “So I’m a little in amazement about just the way life works in that sense.”
He was one of several Los Angeles-based artists to participate in a Road to World Cup Community Day last month at Inglewood High United. Many of the artists — including Juan Pablo Reyes (“JP murals”), Michelle Ruby Guerrero (“Mr. B Baby”) and Angel Acordagoitia — sketched designs on portable panels (12-feet by 8-feet) and picnic tables for community members to paint.
The picnic tables will remain at the high school in front of Mr. Ace’s mural. The mobile murals will be placed throughout LAX to welcome visitors arriving for the World Cup.
Kathryn Schloessman, chief executive of the Los Angeles World Cup 2026 Host Committee, said in a news release that the event was “just one example of how the energy of the World Cup can be felt in neighborhoods across our region.”
“Students, artists, and volunteers came together to create a work of art that will live on well beyond the end of the tournament,” Schloessman said. “It’s a reflection of the creativity, diversity, and community pride that makes our region so special as we prepare to host the world for FIFA World Cup 2026.”
Community members were encouraged to take part in the painting process, no matter their skill level.
“We made it easy enough for people that have zero experience to a proficient level of experience, for them to all be involved,” said Reyes, who designed and helped paint two mural panels and three tables. “We did the sketch, and then I tried to dab a little bit of color — whatever color is supposed to be there, I dabbed a little bit of color right there, so they would have a guide. …
Students and community members help paint a mural panel during a Road to World Cup Community Day event May 2 at Inglewood High School.
(Dawn M. Burkes / Los Angeles Times)
“I was right there, kind of supervising, making sure that everything went as planned. And if anybody has questions, they’re more than welcome to let me know about them. But, yeah, it’s pretty easy for them to kind of be involved and feel that sense of ownership and have a sense of pride that, ‘Yeah, I was part of that mural-creation process.’ It’s a rich experience for them.”
Acordagoitia sketched several tabletop designs for the public to paint at the event.
“They did great,” he said of the community members. “They helped a lot. They were asking questions. They got all the other colors correct. So, yeah, they were excited. A lot of kids were excited to see the live painting, because now kids are used to being on their phones. So that was a great experience for them.”
Acordagoitia also opted to paint a mural panel on his own because “it was a little more technical,” involving portraits of his 8-year-old son, a nephew and a friend.
“I wanted to focus more on the youth because that’s really our future,” he said. “So that’s, that’s the main thing about the mural, just about the kids, soccer, culture, community. It’s exciting for me, because I grew up playing soccer and to include soccer with art, it’s just a dream come true.”
Guerrero said “the community was a big help in filling in all the background colors that I need in order to build the detail and layers” on the two mural panels she designed.
“My whole style is based on culture. And I think that there’s a connection there with the World Cup and how I feel like it brings together all the culture and just, like, celebration,” Guerrero said. “It kind of goes hand in hand with the type of work I do, because my stuff is really festive, celebrating culture. And just as an L.A.-based artist, I think the collaboration made sense.”
The four artists also took part in another Road to World Cup Community Day in downtown L.A. at Gloria Molina Grand Park on March 14. At that event, the artists sketched designs on large sculptures shaped like soccer balls and on an oversized picnic table, also for community members to paint.
While Mr. Ace opted to paint his permanent mural at Inglewood High School United on his own, he was sure to include the community theme into his work.
“The idea was really centered around just creating something that was community-based — something that represented the World Cup but also represented some sense of community,” he said. “And so what I did was try to create something that was symbolic, very direct in terms of its relationship to soccer and figuring out through that how to create something simple that [brings] into that a sense of community. And that’s how I landed on the two hands holding the soccer ball.”
Local artist Mr. Ace works on his World Cup-themed mural at Inglewood High School United on May 11.
(Eric Thayer / Los Angeles Times)
Back when he was a student on that campus, Mr. Ace said he was always involved in art and knew he wanted a career as an artist. He struggled to come up with the right words to describe how it felt being back there creating a work of art to be shared with the students, all of the community and everyone who happens to see it on the way to a World Cup match.
“I guess there’s no words to really describe it,” he said. “I think if any artist gets the opportunity to paint at their own high school — especially if they’ve been doing large-scale works around the city, the country or the world — I think that is a little touching. When it’s attached to something like the World Cup … you know, a large part of my childhood was spent in Inglewood, so coming from my circumstances and life, I think it’s even more intriguing.”
Spanish actor Javier Bardem says speaking out against Israel’s genocide on Gaza has actually landed him more offers for work. Speaking at the Cannes Film Festival, he said he believes the global narrative about Gaza has changed.
Brian Lindstrom, a filmmaker whose documentaries shined a light on society’s underdogs and inspired social change, has died. He was 65.
Lindstrom’s wife, author Cheryl Strayed, confirmed the news on Instagram Friday.
“Brian Lindstrom died this morning the way he lived — with gentleness and courage, grace and gratitude for his beautiful life,” she wrote. “Our children, Carver and Bobbi, and I held him as he took his last breath and we will hold him forever in our hearts. The only thing more immense than our sorrow that Progressive Supranuclear Palsy took our beloved Brian from us is the endless love we have for him.”
According to the National Institute of Neurological Disorders and Stroke, PSP is caused by damage to nerve cells in areas of the brain that control thinking and body movements. The rare neurological disease progresses rapidly.
Strayed, who penned the bestselling memoir “Wild,” which was later adapted for the big screen and starred Reese Witherspoon, announced just weeks ago that Lindstrom had been diagnosed “with a serious, fatal illness.”
Lindstrom was born Feb. 12, 1961. The son of a bartender and a liquor salesman, he was raised in Portland, Ore. — which he and his family still called home.
He was the first member of his family to attend college, which he paid for by taking out student loans, landing work-study jobs and working summers in a salmon cannery in Cordova, Alaska. During a 2013 TEDx Talk, Lindstrom said that after he’d exhausted all the video production classes at Portland’s Lewis & Clark College, his professor Stuart Kaplan gave him a gift certificate to a class at the Northwest Film Center. There, Lindstrom made a short film about his grandpa that landed him a spot in the MFA program at Columbia University.
It was a train trip with his grandpa that inspired Lindstrom to tackle challenging topics with a lens that restored dignity to his subjects. His grandpa was a binge-drinker, and on day three of the trip, he woke up with a hangover and was missing his dentures. Lindstrom, only 5 at the time, noticed the way other passengers treated him and his grandpa differently.
“I think what my films are about is that search for my grandfather’s dentures, the humanizing narrative that bridges the gap between us and them and arrives at we,” he said.
Lindstrom said he returned to Portland after film school and “did several projects with the Northwest Film Center that had me putting a camera in the hands of kids on probation, homeless teens, newly recovering addicts, hard-hit people who had hard-hitting stories to share.”
“Those projects taught me so much about the transformative power of art, and they gave me permission I felt in my personal films to ask people if I might follow them, so that an audience could better understand what they were going through, and by extension, better understand themselves,” he said.
Lindstrom’s 2007 award-winning cinéma-vérité-style film, “Finding Normal,” followed long-term drug addicts as they left prison or detox and tried to rebuild their lives with the help of a recovery mentor.
“What I’m most proud about is that ‘Finding Normal’ is the only film to ever be shown to inmates in solitary confinement at Oregon State Penitentiary, and not, I might add, as a punishment,” Lindstrom said.
In 2013, he released “Alien Boy: The Life and Death of James Chasse,” a documentary that illuminated the life of a man who grappled with schizophrenia and examined his death, which happened in police custody. Discussing the film with LA Progressive in 2018, Lindstrom said that he doesn’t make films for audiences.
“I make them for the people in the film. It is my small way of honoring them,” he told the outlet. “That doesn’t mean I don’t delve into dark areas or that I ignore that person’s struggles. I’m much more concerned with trying to achieve an honest depiction of that person’s life than I am with any potential audience reaction.”
Lindstrom’s work aimed to inspire empathy and humanize those suffering in the margins of society, but it also catalyzed policy change. His acclaimed 2015 documentary, “Mothering Inside,” followed participants in the Family Preservation Project (FPP), an initiative helping incarnated moms establish and maintain bonds with their children.
Midway through filming the documentary, the Oregon Department of Corrections announced it planned to nix funding for the FPP. Lindstrom hosted early screenings of the film, which inspired grassroots advocacy that reached then-Gov. Kate Brown, who subsequently signed legislation that restored funding. The film’s release also helped make Oregon the first state in the U.S. to pass a bill of rights for children of incarcerated parents.
Partnering with Strayed, Lindstrom made the documentary short, “I Am Not Untouchable. I Just Have My Period,” for the New York Times in 2019. The film highlighted the experience of teen girls in Surkhet, Nepal, and the menstrual stigma they faced. Most recently, the filmmaker released, “Lost Angel: The Genius of Judee Sill,” which examined the folk-rock singer’s life from her traumatic childhood and drug-addled adolescence through her rise in the Laurel Canyon music scene and untimely death.
Lindstrom, discussing “Judee Sill” and his style as a filmmaker, told Oregon ArtsWatch, “It’s the chance to kind of focus on the question: What does it mean to be human? The person that the film is about, what can they teach us, what can we learn from them? What can they learn from themselves?”
In 2017, Lindstrom received the Civil Liberties Award from the American Civil Liberties Union of Oregon for his work advancing civil rights and liberties. That same year, he received the Distinguished Alumni Award from Lewis & Clark College.
In Strayed’s post announcing Lindstrom’s death, she described their more than 30-year partnership as a stroke of “tremendous luck.”
“We loved each other and our kids with deep devotion and true delight. He was a stellar husband. He was the most magnificent dad. He was a man whose every word and deed was driven by kindness, compassion, and generosity,” she wrote. “He saw the goodness in everyone. He believed that we are all sacred and redeemable.
“His work as a documentary filmmaker was dedicated to telling stories of people who, as he put it, ‘society puts an X through.’ He erased that X with his camera and his astonishing heart.”
Strayed’s memoir — which followed her as she hiked 1,100 miles along the Pacific Crest Trail in the wake of her mother’s death, a battle with drug addiction and divorce from her first husband — concludes with a happy ending. She finished the months-long hike and sat on a white bench near the Bridge of the Gods, a stone’s throw from the spot where, she writes, she’d marry Lindstrom four years later.
“His greatest legacy is Carver and Bobbi, who embody everything good and true about their father. Their extraordinary grace, courage, and fortitude during this harrowing time was unfaltering and grounded in the undying love Brian poured into them every day of their lives,” she wrote. “We do not know how we will live without him. We’re utterly bereft. We can only walk this dark path and search for the beauty Brian knew was there. It will be his eternal light that guides us.”
Professional visual artists hate generative AI. This should come as no surprise, but a new survey released last month by a trio of researchers at Carnegie Mellon University breaks down just how much: 99% of respondents out of a pool of 378 verified professional visual artists noted their dislike for the technology, with 92% categorizing it as “strong dislike.”
Even more jarring, the survey found that 80% of respondents believe that they’re in competition with the technology. The artists expressed deep concerns about the impact AI is having on their careers, with 54% saying it has diminished their income, 75% their job and clientele security, and 90% their income opportunities. Another 77% said it had negatively impacted their career growth, 61% the future of their career, and 74% their career sustainability.
The jobs most heavily affected include commercial artists, graphic designers and concept artists in entertainment whose work is sometimes entirely replaced — or largely commandeered — by images generated using tools like Midjourney, Adobe Fireplay or DALL-E; but fine artists working in traditional media are also experiencing a devaluation of their work and a shrinking pool of employers.
“I’m working on getting out of the field and planning to get my PhD in something non-art related because I can’t see my current work as being sustainable when I see them actively replacing me [with] chatGPT,” a costume designer and illustrator said in the survey, which notes, “Demoralization, disempowerment, disrespect, stress, and fear are also commonly expressed, not only regarding individual careers but also extending towards the field at large.”
“It’s been pretty demoralizing at times seeing a lot of younger artists giving up because they don’t see a future in art. That they’re abandoning their creative passions because of AI,” another illustrator said. A comic artist, writer and painter noted that AI underscores that art is not important to the general public. “It has been demoralizing largely because generated AI images look like crap but there is a segment of the population who seem to not care,” the artist said.
Then there is the unnervingly meta task of artists trying to prove they are human, or that they did not generate their work using AI.
“I find users online to be more critical, looking at art less to enjoy it and more so to figure out if it’s AI generated or not. There’s a lot of pressure and anxiety in proving you are a real person now,” one illustrator and designer said. Another artist and sculptor said, “I have seen false accusations for use of AI in work from other artists who do not use AI and I am fearful of being accused of this as well, I now record the creation process of most things so that I have proof AI was not utilized.”
In that column, Merchant discusses the “good enough” principle of AI-generated art, noting, “Creative workers aren’t typically worried that AI systems are so good they’ll be rendered obsolete as artists, or that AI-generated work will be better than theirs. Their fear is that clients, managers, and even consumers will deem AI art ‘good enough’ as the companies that produce it push down their wages and corrode their ability to earn a living.”
An idea highlighted in the following letter published by Merchant from an anonymous source:
“I’ve been out of work for a while now. I made children’s book illustrations, stock art, and took various art commissions.
Now I have several maxed out credit cards and use a donation bin for food. I haven’t had a steady contract in over a year. two weeks ago, when a client who has switched to AI found out about this he gave me $50 out of ‘a sense of guilt.’ Basically pity for the fact that Illustrator, as a job, does not exist anymore.”
One thing Merchant is exceedingly good at is reminding readers that there is a surge of dissent swelling from the proletariat — and that after you’re done feeling the necessary despair, you can join the anti-AI resistance. For visual artists that can be as simple as utilizing a growing number of defensive tools when it comes to protecting art, most notably Glaze and Nightshade. The former adds the smallest pixel-sized changes to your artwork, which serves to confuse AI so it can’t train on your style; the latter — as the name implies — acts more like a poison that corrupts AI training data so it can’t scrape from a protected image.
I’m Arts editor — and proud Luddite — Jessica Gelt. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Celeste Butler-Clayton as Coretta Scott King in “Experiencing the Dream: The MLK Musical.”
(Triple T Photography)
Experiencing the Dream: MLK the Musical The show’s 26 songs will be recorded live with an orchestra of 27 musicians under the direction of Leon Lacy, with orchestrations by Felipe Paccagnella, vocal arrangements by Tony Jones and musical direction by arranger/producer William Taylor. The cast includes Eric Dawkins, Bishop Jonathan Mason, Yolanda Gibbons, Patricia Jackson, James Singleton, Melvin Crispell, Pam Blackmon Kendle and Celeste Butler-Clayton. Written by Kesha L. Ealy and Marcus S. Mason. Mason also composed the music. 7 p.m. Greater Emmanuel Temple, 3740 E. Imperial Hwy., Lynwood. MLKthemusical.com
Riverdance 30 — The New Generation The Irish music and dance phenomenon marks its three decades with a special anniversary tour. 7:30 p.m. Friday; 2 and 7:30 p.m. Saturday; 1 and 6:30 p.m. Sunday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
SATURDAY
Ryuichi Sakamoto, left; Bang on a Can All-Stars.
(The Wallis)
Ryuichi Sakamoto Contemporary music sextet Bang on a Can All-Stars pay tribute to the Japanese composer with works from his album “1996,” which included pieces from his film scores, including “Merry Christmas, Mr. Lawrence” (1983), “The Last Emperor” (1987), for which he won an Academy Award, “The Sheltering Sky” (1990) and “Little Buddha” (1993). 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Vijay Iyer and Wadada Leo Smith The longtime collaborators perform music from their 2025 album “Defiant Life” which Iyer noted “was shaped by our ongoing sorrow and outrage over the past year’s cruelties, but also by our faith in human possibility.” 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Radiance + Reverie Los Angeles Chamber Orchestra music director Jaime Martín leads the group in Mozart’s “Haffner” Symphony, “Selah,” a world premiere of a new Double Concerto by Christopher Cerrone performed by violinist Anthony Marwood and cellist Coleman Itzkoff, and Tchaikovsky’s “Mozartiana.” 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
Mads Mikkelsen and Zlatko Burić in ‘Pusher II: With Blood on My Hands.”
(Jens Juncker-Jensen / NWR / Magnolia Pictures )
Pusher trilogy Danish filmmaker Nicolas Winding Refn’s gritty triptych takes us through the violent criminal underworld of Copenhagen in three interconnected films, each with a different protagonist: “Pusher” (1996), starring Kim Bodnia; “Pusher II: With Blood On My Hands” (2004), starring Mads Mikkelsen; “Pusher III: I’m The Angel Of Death,” starring Zlatko Burić. 5 p.m. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Jodi Siegel The singer-songwriter and guitarist is joined by guitarist Greg Porée and percussionist Justin Porée for an evening of blues, R&B, soul and jazz. 8 p.m. Sierra Madre Playhouse, Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
SUNDAY Celebrating Photography The Getty has a series of events inspired by the exhibition “Photography and the Black Arts Movement, 1955–1985” (which continues through June 14). It begins Sunday with a free, daylong Family Festival featuring live music, dance, storytelling and interactive workshops. On Wednesday evening, moderator Karen Grigsby Bates and authors Dr. Karin L. Stanford and Mark Speltz discuss the new book “Marching West: The Los Angeles Civil Rights Movement in Photographs.” Thursday morning, the panel “Backstage: An Unfurling of the JPC: Black Photography & Visual Culture” examines how the Johnson Publishing Company and its photographers impacted Black visual culture and the larger field of photography. Finally, on June 7, authors Jeanne Moutoussamy-Ashe (“Viewfinders: Black Women Photographers”) and Deborah Willis (“Black Photographers, 1840 to 1940: An Illustrated Bio-Bibliography”) discuss their work as artists and historians. Family Festival, 10 a.m.-5 p.m. Sunday; “Backstage: An Unfurling of the JPC,” 10 a.m. Thursday (also online); “Marching West,” 7 p.m. Wednesday (also online); “Viewfinders,” 4 p.m. June 7 (also online). Getty Center, 1200 Getty Center Drive, L.A. getty.edu
F For Fake A 35 mm screening of Orson Welles’ 1973 enigmatic docudrama profiles professional art forger Elmyr de Hory as a starting point for examining authenticity and authorship. 6 p.m. Brain-Dead Studios, 611 N. Fairfax Ave. studios.wearebraindead.com
Philip Glass and the Poets The first major Philip Glass 90th birthday celebration (he was born Jan. 31, 1927) features Timo Andres on piano and spoken word performance by Taylor Mac, with special guest appearances by Lucinda Childs and the San Francisco Girls Chorus and their artistic director Valérie Sainte-Agathe. 7 p.m. UC Santa Barbara, Campbell Hall. artsandlectures.ucsb.edu
TUESDAY
Gustavo Dudamel will lead the L.A. Phil in Wagner’s “Die Walküre” in three parts, Tuessday-Sunday at Disney Concert Hall.
(Etienne Laurent / For The Times)
Die Walküre Conductor Gustavo Dudamel and the L.A. Phil, along with director Alberto Arvelo, tackle the second installment in Wagner’s epic Ring Cycle in three stand-alone parts with opera stars Jamez McCorkle, Jessica Faselt, Christine Goerke and Ryan Speedo Green, and scenic designs by Frank Gehry. Act I, 8 p.m. Tuesday and Friday; Act II, 8 p.m. Wednesday and Saturday; Act II, 8 p.m. Thursday and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
WEDNESDAY Being There Peter Sellers received an Oscar nomination for his portrayal of a simple gardener catapulted into the media spotlight and presidential politics in Hal Ashby’s prescient 1979 satire. Shirley MacLaine, Jack Warden and Melvyn Douglas co-star. Screening in 35 mm with an appearance by cinematographer Caleb Deschanel. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Life of Mozart The Pasadena Choral Society presents the composer’s unfinished “Requiem” within a dramatic framework using Mozart’s own words. Milo Brody plays Mozart, accompanied by pianist Tali Tadmor, with solos by soprano Erika Boychenko, alto Ali Frazzini, tenor Eric Wernerand bass Chris Tickner. 7:30 p.m. San Marino Community Church, 1750 Virginia Rd #0412. givebutter.com/lifeofmozart
Primary Trust Times theater critic Charles McNulty described Eboni Booth’s 2024 Pulitzer Prize-winning play as “a quirky, small-scale, quietly reflective work that’s as tenderhearted as it is spryly comic and as poignant as it is ultimately uplifting,” when it had its West Coast premiere at La Jolla Playhouse. Once again directed by Knud Adams, it arrives in Los Angeles with a cast that includes Ugo Chukwu, Rebecca S’manga Frank, Petey McGee and James Urbaniak, with music by Luke Wygodny. Through June 28 Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
Studio installation view from “A Palace in Time” at the Skirball beginning May 20.
(Courtesy of Robert Russell and Lisa Edelstein.)
Skirball Spring Exhibitions The Skirball Cultural Center launches three new exhibitions next week: “Inventing America: The Comic Book Revolution”; “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976–1986”; and “Robert Russell and Lisa Edelstein: A Palace in Time.” All three open May 20, Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. skirball.org
THURSDAY
Ain’t Misbehavin’ Grammy Award-winning artist Ledisi headlines this Ebony Repertory Theatre production, in association with Fig Street Films, of the Tony Award-winning revue, a tribute to the music of Fats Waller. Directed by Wren T. Brown, with choreography by Dominique Kelley and music direction by William Foster McDaniel. Chester Gregory, Connie Jackson, Marty Austin Lamar and Natalie Wachen co-star. May 21 through June 8. Nate Holden Performing Arts Center, 4718 W. Washington Blvd. L.A. ebony rep.org.
Arts anywhere
New and recent releases of arts-related media.
Shaina Taub, Jenna Bainbridge and the cast of “Suffs” during the 77th Annual Tony Awards in 2024.
(Theo Wargo / Getty Images for Tony Awards Productions)
Suffs When the national tour of Shaina Taub’s musical about the suffragette movement marched through the Hollywood Pantages last fall, Times theater critic Charles McNulty wrote that it “is as informative as it is uplifting. It is above all a moving testament to the power of sisterhood. The struggle for equality continues to face crushing setbacks today, but Taub wants us to remember what can happen when people stand united for a just cause.” Captured on Broadway in December 2024, “Suffs,” starring Taub, who also wrote the book, music and lyrics for the show, debuted on PBS’ “Great Performances” earlier this month and is streaming online until the end of July. pbs.org
— Kevin Crust
Culture news and the SoCal scene
Johnie’s Coffee Shop in Los Angeles May 8.
(Ariana Drehsler / For The Times)
Artist Gary Baseman staged his first hometown show in more than a decade at the long-shuttered, but still iconic Johnie’s Coffee Shop along Miracle Mile on Wilshire Blvd. The Googie-style structure opened its doors for the exhibit, which featured a variety of Baseman’s drawings on menus from L.A.-area restaurants.
McNulty also weighed in with a review of a revival of Eugène Ionesco’s “Exit the King,” directed by Michael Michetti at A Noise Within. Ionesco, a Romanian-born French playwright, is one of the pillars of the Theatre of the Absurd, McNulty writes, adding, “The existential philosophy of Camus and Sartre, self-evident truths for these absurdist writers, is conveyed less through the content than through the style of their plays. Language is no longer a means of communication but a mark of the unbridgeable distance between human beings.”
People play a satirical video game installation titled “Operation Epic Furious Strait to Hell,” created by guerrilla art group Secret Handshake.
(Heather Diehl / Getty Images)
You can order a Diet Coke, or bomb Iran in a new video game about the Iran war called “Operation Epic Furious: Strait to Hell,” which was installed near the National Mall in Washington, D.C. by the anonymous arts activist group Secret Handshake. For the past year and a half the group has secured permits to erect an ongoing series of satirical public sculptures — mostly about President Trump’s alleged ties to convicted sex trafficker Jeffrey Epstein — on and around the National Mall. This is the group’s first foray into video games.
Times classical music critic Mark Swed devoted a recent column to the genius of the American theater director, playwright and performer Robert Wilson, who died last year at the age of 83. “So far this year, there have been, or will be through the end of June, major Wilson opera and theater productions in Moscow; Paris; Ljubljana, Slovenia; Düsseldorf, Germany; Adelaide, Australia; Kaunas, Lithuania; Vienna; Rome; Tokyo; Luxembourg City, Luxembourg; Berlin; Riga, Latvia; and Sophia, Bulgaria. That is to say, pretty much Wilson business as usual,” Swed writes, before examining two new performances of Wilson’s work in Brooklyn and Houston.
Artist Todd Gray stands in front of his work inside the Wilshire/La Cienega Metro Station on May 1 in Los Angeles.
(Carlin Stiehl / For The Times)
Iris Kwok marked the opening of L.A. Metro’s new D Line extension by profiling four of the artists behind the public artwork in three new stations. Nine artists in total worked on site-specific installations: Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.
Culver City’s Wende Museum of the Cold War announced it will build a $16-million expansion in Hawthorne. It plans to transform a newly purchased Midcentury Modern building into a research institute and interactive storage facility for its collections — “a ‘living archive,’ as it’s calling the facility,” writes Deborah Vankin. The opening is currently set for 2028.
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Alvin Ailey’s American Dance Theatre’s Chalvar Montei leaps for the stars. The troupe will perform as part of the Glorya Kaufman Presents Dance at the Music Center.
(Dario Calmese / Courtesy La Jolla Music Society )
The Music Center announced its lineup this week for the 2026–27 season of Glorya Kaufman Presents Dance at the Music Center. Highlights include the Joffrey Ballet’s West Coast premiere of “The Sleeping Beauty,” Compañía Nacional de Danza’s North American premiere of “Don Quixote,” and the Los Angeles premiere of a Jerome Robbins ballet festival curated by Tiler Peck. Alvin Ailey Dance Theater is also part of the lineup, and choreographer Sonya Tayeh will unveil an L.A. premiere set to the music of Sinéad O’Connor.
The Los Angeles Philharmonic has announced the 2026 summer season at the Ford. The open-air venue across from the Hollywood Bowl is now in its seventh season under LA Phil leadership, and shows are set to run through Oct. 31. Grab your picnic basket and select a date from a wide variety of shows including dance, music and film. Stand-out acts include Bilal and DJ Rashida, Matteo Bocelli, Jacob Collier, Judy Collins and Bruce Cockburn, Ani DiFranco and Valerie June, Helado Negro and Reyna Tropical, Joe Hisaishi, Iron & Wine, the L.A. Phil, and Punch Brothers.
The Institute of Latino Art has opened in Pomona, with a grand opening reception scheduled for June 13. Occupying the former Latino Art Museum space, the new gallery was founded by artist Oscar Magallanes. A news release notes, “ILA represents a new artist-led institution in the Inland Empire, working to connect regional communities with contemporary Latin American and Chicano art. The inaugural exhibition, ‘Reclamation: Art in Contested Spaces,’ features NSRGNTS, Lapiztola, and Rubén Ortiz-Torres.”
EastEnders’ Mark Fowler has resorted to desperate tactics to clear his debt to gangster Delaney, but fans think there’s a further twist on the way that will be fatal for one character
20:16, 14 May 2026Updated 20:16, 14 May 2026
Mark Fowler in EastEnders(Image: BBC/EASTENDERS)
EastEnders fans are convinced Mark Fowler’s latest desperate antics will prove fatal for one character. In Thursday’s episode, airing on 14 May, Mark learned that his debt to gangster Russell Delaney had been doubled after his father, Grant Mitchell, threatened the drug lord. In his panic, his aunt Sam, managed to convince him to do something drastic.
Sam told Mark that he needed Lauren Beale to start working with him on stealing cars and selling them on her car lot. Lauren refused to do that before but Sam suggested that if Mark made it so that she had no choice but to turn to him, then he could get his money. As such, they took a car Lauren was due to sell and set fire to it.
Fans noticed that just before this scene, Bea Pollard, who had been kicked out of Honey and Billy Mitchell’s home after stealing Honey’s identity, was sleeping rough on some bin bags. Some thought she might be too close to the fire and die as a result, as the character is thought to be leaving soon.
“I think Bea was bedding down in one of the lock ups by the car,” one fan said. “Hopefully that will be her leaving scene.” Another added: “Was that Bea asleep on the ground when Mark threw petrol all over the car and put a lighter to it?” A third said: “I thought the same thing. Near the car – bet she saw it all.”
But others pointed out that it looked more like Bea was in McClunky’s, the chicken shop where she works. One wrote: “Bea camping out at mcklunky’s on a bin bag…”
Another said: “Sure she was in the chicken shop.” A third added: “She was in the chicken shop, you could see counter in the background.”
This comes as Bea’s actions left Honey hospitalised. When it was revealed that Bea used Honey’s identity to open a credit card account, which landed her friend in £5,000 debt, Bea tried to convince Honey that it was all a misunderstanding.
When that didn’t work, she said she only did it so that she could buy things for people and make them like her. It was close to persuading Honey to let her stay, until Honey’s husband Billy came home.
Billy threw Bea out on her ear. In a fit of rage, Bea flipped the safety lever on his ladder, so that when he went up to clear the drains, he would fall.
But in a sick twist, it was Honey who went up the ladder. She fell from the ladder and couldn’t be roused by Billy, as Bea watched on from the shadows.
Honey was rushed to hospital, where she eventually woke up. But despite convincing everyone that she wasn’t responsible for Honey’s fall, Bea was not allowed to stay with them in Walford and was told to leave.
A pivotal moment early in “Harry Potter and the Sorcerer’s Stone” arrives when Harry’s suburban house is swarmed and flooded with letters of acceptance for the Hogwarts School of Witchcraft and Wizardry. Harry’s aunt and uncle have been preventing such dispatches from reaching the young wizard-to-be, but the boarding school’s messenger owls are having none of it.
Letters flood in from the fireplace, windows and nearly seem to cause the house to burst. And while watching the film recently at Inglewood’s Cosm, home to an all-encompassing high-definition spherical screen, I half expected a letter to fall upon my lap. Cosm specializes in sports, but has released three collaborations with Warner Bros. for what it deems “experiential film.” A framed screen displaying the original 2001 work from director Chris Columbus is untouched, but surrounding it are newly added digital animations designed to envelop guests.
And in this early “Sorcerer’s Stone” scene, letters were a-flying any which way I looked. Up, down, left and right — mail missives were rocketing toward the center screen. As the world closed in on Daniel Radcliffe’s Potter and family, it did so, too, at Cosm. I’ve seen Cosm’s take on “The Matrix” and “Willy Wonka and the Chocolate Factory,” so I knew a letter wouldn’t come zapping my way, but one could be forgiven for protecting their cocktail — themed, of course — from being knocked over.
The famed “sorting hat” scene at Cosm’s interpretation of “Harry Potter and the Sorcerer’s Stone.”
(Cosm)
Such is the power of Cosm’s curved screen, which brings a sense of dimension, and even at times movement, to the film. Think of Cosm, perhaps, as a mini version of Las Vegas’ Sphere, but smaller doesn’t mean any less sweeping. No, “Harry Potter and the Sorcerer’s Stone” in Cosm’s hands is often quite grand, as the first glimpse of Hogwarts Castle inspired cheers from the opening night audience, its cliffside towers, a romanticized spin on medieval architecture, towering above us in such a way that we will crane our necks. Only in Universal’s theme parks does the palace seem more real and welcoming.
“Harry Potter and the Sorcerer’s Stone” arrives at Cosm during what is a big year for the franchise. It’s the 25th anniversary, of course, of the first film in the series, and later this year on Christmas Day a new television series based on author J.K. Rowling’s popular book series is set to premiere on HBO Max. This summer, Harry Potter: A Hogwarts Express Adventure will open at the Southern California Railway Museum for guests to experience the Wizarding World rite of passage aboard a real moving train in the Inland Empire.
All of this activity is happening as Rowling has become the center of heated debate for her controversial views on trans women. None of it, however, has seemed to curtail fan interest in the series. The 2023 video game “Hogwarts Legacy” became a massive hit despite calls for a boycott, and Universal Studios last year opened in Florida a brand new theme park land based upon the franchise at its Epic Universe park, with its centerpiece ride, Harry Potter and the Battle at the Ministry, often commanding some of the longest waits at the park.
At the film’s early May premiere at Cosm, Rowling was mentioned little, and wasn’t among the massive list of names being thanked by studio and Cosm execs. “Harry Potter” in 2026 is perhaps best viewed as a franchise that has outgrown its creator to take on a life of its own, and Cosm’s approach is that of a love letter to its many fans, recognizing that this is a magical, enchanting world that generations have long wished to find themselves immersed in.
A climatic scene in “Harry Potter and the Sorcerer’s Stone” is outfitted with additional effects at Cosm.
(Cosm)
To that end, I’d rank “Harry Potter and the Sorcerer’s Stone” as the most successful of Cosm’s three cinematic interpretations. Certainly the subject matter plays a role, and while Cosm has been successful in matching the high-energy of “The Matrix” or the trippiness of “Willy Wonka,” here Cosm and its partners — experiential firm Little Cinema and effects house MakeMake — can simply luxuriate in atmosphere. The train to Hogwarts, for instance, is especially well done, seemingly stretched to infinity. The famed “sorting hat” scene, too, as Cosm’s wizards contrast the internal anxiety of being assigned a role with the external one of doing so in front of an audience, bringing to exaggerated life the cavernous Hogwarts assembly hall.
‘Harry Potter and the Sorcerer’s Stone’
Cosm works best when it’s able to use its venue to create the illusion of no longer being a spectator, when the space itself starts to feel like a living theater. Feel this, for instance, when Harry and pals traverse the moving staircase. The frame of the screen may move, creating a slight sense of disorientation as the stairs themselves shift. The portraits on the wall, whose characters occasionally come alive, start to envelop us. Cosm used some restraint here, keeping us guessing as to which framed pictures may seek to speak or nod our way.
If there’s any qualm in Cosm’s work it’s that at times there could be a tinge more self-control in order to let the film do its work. Stepping into the hidden magic nook of London’s Diagon Alley is a showcase moment in Columbus’ film, and at times it is in Cosm’s interpretation as well. Out on the street, the shops circle around us, further conveying the cramped nature of the neighborhood. It feels, more than ever, like a real-life space. Inside an intimate pub, however, filling out the scene with empty tables could distract from the hurried, nervous nature of the filmmaker’s original intent.
But we live in an immersive age. Art, increasingly, is maximized to encompass us, and Cosm understands this moment well. Once again, the venue has made the argument that cinema can feel like communal, live entertainment.
The most recent death on Mt. Wilson claimed the life of a man identified as New Zealand-born, L.A.-based composer Mark Smythe. Following the tragedy, his colleagues and family poured out their hearts as they remembered a man they called smart, funny and a true supporter of his peers.
Smythe died Saturday at 53 after suffering a cardiac emergency on a hiking trail, according to the coroner’s online database. His cause of death was atherosclerotic cardiovascular disease, in which plaque builds up in arterial walls and can lead to a heart attack.
The Sierra Madre Police Department said Saturday that a man — at that point unidentified — died after having a medical emergency on the trail and that no foul play was suspected. First responders arrived at the site around 10 a.m. and administered aid but were unable to save his life.
Smythe had been head of the department of Composing for Visual Media at Los Angeles Music College since last summer, according to his website. Among other honors, he was nominated for a 2023 Society of Composers and Lyricists Award for his work scoring the movie “The Reef: Stalked.”
Kate Ward-Smythe, the composer’s sister, acknowledged his death late Sunday on Facebook.
“It is a comfort to know that he was doing one of the things he loved, hiking in the hills, and we are grateful to his wonderful friends (and emergency service responders) who tried so hard to resuscitate him,” she wrote.
“Mark was a strong larger than life connector in LA, as a professor, composer, musician, and loyal friend. He was also fiercely talented, and an absolute cheerleader for music performance and recording across multiple genres.. he was only just getting started and had so much more to give .. We are heartbroken and trying to process this tragedy, as are all Mark’s friends and family.”
Bear McCreary, known for scoring TV series including “Outlander,” “The Walking Dead,” “Black Sails” and “Snowpiercer” and movies including “Happy Death Day,” “Godzilla: King of the Monsters” and Blumhouse’s “Fantasy Island,” called news of Smythe’s death “awful and surreal,” saying they had just been chatting at a mutual friend’s party a few weeks ago.
“Mark’s enthusiasm and humor were off the charts,” McCreary wrote Sunday on Instagram. “He brought a shark with a bowtie to the red carpet of an SCL awards ceremony when he was nominated for his work on a shark movie – hilarious! When he found out I was writing a metal album, he curated his favorite German folk metal bands for me (turning me on to his favorite band, Finsterforst).”
Having said he always thought he would get to know Smythe better one day, McCreary called his death “a stark reminder to spend time with the people you care about while you can.”
John Massari, who has more than 150 music credits stretching back to “Little House on the Prairie” and contributed music to TV series including “Dancing With the Stars,” “Pawn Stars” and “It’s Always Sunny in Philadelphia,” said in comments that “Mark was a bright light and a refreshing spirit in our community. He is greatly missed.”
“I’m so deeply sad to lose my friend. Mark, I miss you and love you. Thank you for your love, passion, humor, and joy and for always making me feel loved and valued,” singer Baraka May, whose voice can be heard in “Avatar: Fire and Ash,” “Wicked: For Good” and “Beavis and Butt-Head,” wrote Monday on Instagram.
“He was funny and snarky and whip-smart, yet when we collaborated, he just melted into the music and gushed like a fan with child-like wonder. What a tremendous heart and mind!” the vocalist wrote. “I had the honor of collaborating with him on three of his beautiful pieces as a conductor, and I loved his boyish, genuine joy and excitement even in our rehearsals. He wrote and voiced his music beautifully, which often felt haunting, romantic, deep, and sensitive, and his bass playing was so beautiful and thoughtful. He was such a vivid, enthusiastic music lover, and I was very much looking forward to making more music with him.”
The Los Angeles Film Conducting Intensive also mourned the loss, saying online that “Mark was a brilliant talent and a genuine friend to all, a true pillar in our scoring community.
“During the pandemic, Mark generously joined our 2020 New Music Project to support new repertoire for our music community during a time of great uncertainty and when most traditional pieces could not be performed.”
The Hollywood Music in Media Awards remembered Smythe winning a career-propelling prize at the organization’s 2013 ceremony, soon after he arrived in L.A. from New Zealand.
“He quickly built a distinguished body of work for film, shorts, and television, earned multiple HMMA nominations, served as COO of the Society of Composers & Lyricists, and returned to present at the 2018 HMMA Gala,” the organization wrote. “Mark’s talent and generosity enriched our community — he will be greatly missed.”
Smythe’s death was the second this month on Mt. Wilson. On May 3, a man identified as John McIntyre, 66, was declared dead on the same trail after falling down a ravine at Mt. Wilson Road and the Little Santa Anita fire break in Sierra Madre. His cause of death was blunt force injuries.
The Times earned prestigious Associated Press Sports Editors triple crown honors for a sixth consecutive year, claimed first place in two individual categories and finished in the top 10 in eight categories.
The staff submitted work published in 2025 and competed against the largest print and digital sports publications in the country.
The Times also earned first place in event coverage for the staff’s work chronicling the Dodgers World Series Game 7 win, tying with the Dallas Morning News for top honors.
The Times’ eight top-10 finishes included the categories print portfolio, digital, event coverage, special sections, investigative, national beat writing, columns and short feature. The staff also earned an excellence in video award.
Love may not be all you need these days, but a picture with it might help. This you can get beginning later this year when the Huntington installs its newly acquired “LOVE” sculpture by Robert Indiana near the Virginia Steele Scott Galleries of American Art.
Indiana first unveiled the iconic sculpture almost 60 years ago — also just a few days before Mother’s Day — as part of his 1966 solo exhibition at Stable Gallery in New York. While this early version measured only 12 inches high, the Huntington’s edition is 12 feet tall and 12 feet wide, making it an ideal vessel for you and your, ahem, loved ones to snap a pic with.
The polychromed aluminum sculpture is third in an edition of five, with two artist’s proofs, and will be the only “LOVE” sculpture in Southern California available to the public. It arrives at the museum’s San Marino campus as a gift of Terri and Jerry Kohl, who also provided funding for installation and long-term care.
“LOVE” is one of the most recognizable pieces of Pop art ever created — a ubiquitous symbol associated with a variety of social causes, movements and groups, including the LGBTQ+ community during the height of the AIDS crisis.
Indiana’s design for “LOVE,” featuring an L and slightly askew O stacked atop a V and E, first appeared on the Museum of Modern Art’s annual holiday card in 1965, and was apparently among the institution’s most popular holiday cards of all time. The artist completed his first monumental love sculpture, made from steel, in 1970. That sculpture is part of the Indianapolis Museum of Art’s collection.
In a news release, Huntington President Karen R. Lawrence said that Jerry Kohl believed that “LOVE,” “belonged in a place where it would be seen and experienced by millions of visitors in the years leading up to the Los Angeles Olympics, during the games, and far beyond. He recognized The Huntington as a cultural destination uniquely positioned to steward the work and share it with a broad public audience.”
“LOVE” will join a number of other outdoor installations across the Huntington’s expansive grounds and gardens, including two recently acquired sculptures by the Cuban-born artist Enrique Martínez Celaya, in addition to pieces by Sam Francis, Tony Smith and Harry Bertoia.
The sculpture also serves to expand the Huntington’s collection of American art dating from the mid-20th century on, joining works by Andy Warhol, Betye Saar, Elizabeth Catlett, Isamu Noguchi, Paul Manship, Gaston Lachaise, Elie Nadelman, Daniel Chester French, Sargent Claude Johnson, Richmond Barthé and Wilhelm Hunt Diederich.
If you’re planning a Mother’s Day jaunt to the picturesque Huntington, you won’t see the sculpture just yet, but you should still go. (This is where I wish all who celebrate a very happy Mother’s Day. Hi, hardworking, selfless moms everywhere: I see you.)
I’m Arts editor Jessica Gelt and I choose LOVE. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Freeways 2026 Los Angeles Chamber Orchestra fellows Alejandro Lombo, flute, Eder Rivera, oboe, and Nicolás Valencia, viola, and other emerging musicians perform works by Dranishnikova, Piazzolla, Mozart, Dvořák, Gaubert, Julia Moss and Ravel. 7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org
My Birthday Party Based on stories by Carl Sandburg and Viggo Mortensen, this immersive theatrical experience includes acrobats, aerialists and clowns from Cirque du Soleil and features surprise guests, with music by Veronika Krausas. Opening night performance by Thelma Houston. 8 p.m. Friday and Saturday; 2 p.m. Sunday, through May 7. Fais Do-Do, 5257 W. Adams Place, L.A. playwithsprung.com
Lorenzo Viotti in Milan, Italy.
(Vittorio Zunino Celotto / Getty Images)
Rachmaninoff’s ‘Second Symphony’ In his L.A. Phil debut, flamboyant Italian-Swiss conductor Lorenzo Viotti and violinist Lisa Batiashvili join the orchestra for a fiery program of late-Romantic works. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Picasso: Le Monstre Sacré Peter Tate’s solo performance piece, adapted by the actor and director Guy Masterson from Terri D’Alfonso‘s “The Loves of Picasso,” explores the complicated artist’s legacy from within. 8 p.m. Thursday-Saturday; 3 p.m. Sunday, through May 17. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
TJ Shin’s solo exhibition “Delta” is at Ehrlich Steinberg through June 11.
(Ehrlich Steinberg)
TJ Shin The L.A.-based artist’s solo exhibition “Delta,” rooted in game theory, consists of a multi-channel video installation, drawings and a newly commissioned text by writer and professor Sunny Xiang. 11 a.m.-5 p.m. Wednesday-Saturday, through June 11. Ehrlich Steinberg, 5540 Santa Monica Blvd., L.A. ehrlichsteinberg.com
The Sound of Music The Hollywood Hills (and San Diego and Costa Mesa) are alive with the sound of Rodgers & Hammerstein on this tour of the latest revival of the classic romantic musical set in Austria as Nazi Germany moves to annex it. Through May 24. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; May 26-31. San Diego Civic Theatre, 1100 Third Ave.; June 2-14. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. soundofmusicontour.com
SATURDAY
Ascent This world premiere of a play by the late Henry Ong details the true story of aerospace engineer and cyberneticist Qian Xuesen, who co-founded Jet Propulsion Laboratory and was instrumental in United States’ World War II efforts before being unjustly forced to return to China. Direction and dramaturgy by Diana Wyenn. 8 p.m. Thursdays-Saturdays; 3 p.m. Sundays, through June 14. Skylight Theatre Company, 1816 ½ N. Vermont Ave, L.A. skylighttheatre.org
Maintenance Artist The Laemmle “Culture Vulture” series continues with a 2025 documentary about Mierle Laderman Ukeles, who, inspired by Marcel Duchamp, inaugurated the idea that routine activities could be seen as performance art. Directed by Toby Perl Freilich. 10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com 6 p.m. May 16. Getty Center, 1200 Getty Center Drive, L.A. getty.edu
Wild Up: The Center Is Between Us The eclectic ensemble performs Robert Ashley’s “The Park” and “The Backyard,” narrated live by Christopher Rountree, from the 1978 avant-garde spoken work album “Private Parts,” before being joined by the santoor and tabla duo of Kamaljeet and Jas Ahluwalia, along with cellist Chris Votek, for new work. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
SUNDAY
Los Angeles Children’s Chorus LACC presents two spring concerts: Sunday, featuring the Apprentice Choir, Intermediate Choir and Chorale; and May 17 with the Concert Choir, Young Men’s Ensemble and Chamber Singers. 7 p.m. Sunday and May 17. Pasadena Presbyterian Church, 585 E. Colorado Blvd. lachildrenschorus.org
MOMentum Place Celebrate Mother’s Day in the great outdoors with aerial and circus performers, dancers and musicians, preceded by a brunch from chef David Gussin and Prose Restaurant. Brunch, noon; performance, 2 p.m.; Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com
Shirley MacLaine, Debra Winger and Jack Nicholson in James L. Brooks’ 1983 hit “Terms of Endearment,” which won five Oscars.
(Paramount Pictures)
Terms of Endearment James L. Brooks won Academy Awards for writing, producing and directing this adaptation of Larry McMurty’s novel, which should resonate with anyone who has or had a challenging relationship with their own mother on this Mother’s Day. Featuring a stacked cast including Oscar winners Shirley MacLaine and Jack Nicholson, and nominees Debra Winger and John Lithgow, as well as Jeff Daniels and Danny DeVito. Presented in 35mm. 2 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
MONDAY
ASCAP Foundation Musical Theatre Workshop Three new musicals presented as live readings with musical accompaniment and expert feedback panels: “Lilyville” by Antonius Anand Nazareth (Monday); “The Waiting” by Maria Isabella Andreoli and EmmaLee Kidwell (Tuesday); and “Legendary” by Cheeyang Ng (Wednesday). 7 p.m. Monday-Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
TUESDAY
Rachel Ward, left, and Jason Patric in “After Dark My Sweet.”
(Kino Lorber)
After Dark My Sweet Actor Jason Patric presents a screening of his personal 35mm print of director James Foley’s 1990 neo-noir adapted from the Jim Thompson novel. Introduced by Alex Winter and followed by a Q&A with Patric and writer/film critic Travis Woods. 7:30 p.m. Vidiots, 4884 Eagle Rock Blvd. vidiotsfoundation.org
Sarah Andon “Eclectic Engagement: Explorations in Sound, Space, and Collaboration” features the L.A.-based flutist and an all-star ensemble, including percussionist Nick Terry, pianists Todd Moellenberg, Bryan Pezzone and Aron Kallay, flutist Sarah Wass, violinist Shalini Vijayan and electronicist Cristina Lord performing works by Toru Takemitsu, Sungji Hong, Gabriela Lena Frank, Nicolás Lell Benavides, Herman Beeftink, Jerry Goldsmith, Ennio Morricone and Nino Rota. 8 p.m. Monk Space, 4414 W. 2nd St., L.A. brightworknewmusic.com
WEDNESDAY
Alexandra Silber adapted a new book for Lerner & Loewe’s classic “Brigadoon.”
(Jason Armond / Los Angeles Times)
Brigadoon Tyne Daly headlines this new adaptation by Alexandra Silber of the classic Lerne & Loewe musical about a mysterious Scottish village that only appears once a century. Directed by Katie Spelman, with original dances created by Agnes Demille. Through June 14. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org
A Sea Symphony Pasadena Chorale performs Walt Whitman’s words with Vaughan Williams’ music, featuring solos by sopranos Rachel Adcock and Asha Srikantiah and baritones Eric Werner and Tobin Sparfeld. 7:30 p.m. First United Methodist Church Pasadena, 500 E. Colorado Blvd. pasadenachorale.org
THURSDAY
Camerata Pacifica The ensemble performs a program that includes works by Beethoven, De Mey and Bunch, and concludes with Shostakovich’s “Symphony No. 15 for Piano Trio and Percussion,” arranged by Viktor Derevianko. 8 p.m. Thursday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. May 15. Academy of the West, 1070 Fairway Road, Santa Barbara. 8 p.m.; 3 p.m. May 17. Bank of America Performing Arts Center, Scherr Forum, 2100 E. Thousand Oaks Blvd.; 7:30 p.m. May 19. The Huntington, 1151 Oxford Road, San Marino. cameratapacifica.org
Arts anywhere
New and recent releases of arts-related media.
Open-Door Playhouse Playwright Bernadette Armstrong launched this online venture during the pandemic to help other authors get their work heard by audiences. The endeavor has continued, producing dozens of audio versions of 10-minute and one-act plays delivered as podcasts. The latest release, “Holy Hell,” written by Barbara Lindsay, features a man (played by Gary Lamb, who also directed) and a woman (Elaine Mello) separately recounting the tragedy that united them. Open Door Playhouse is free, relying on listener donations. opendoorplayhouse.org
“Rupert García: The Making of an American Artist, a Testimonio” by Mario T. García.
(Rutgers University Press)
Rupert García: The Making of an American Artist, a Testimonio An oral history 30 years in the making, the book chronicles the life and career of the American Chicano visual artist and activist, whose work as a painter, pastellist and screen printer both documented and galvanized cultural movements from the 1960s onward. The book’s author, historian Mario T. Garcia of UC Santa Barbara, will be in town for a book signing at 7:30 p.m. on Friday at Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena. vromansbookstore.com Rutgers University Press: $35, 215 pages.
Arturo Sandoval, who frequently performs in Los Angeles, has a new album, “Sangú.”
(The Wallis)
Sangú Trumpeter, bandleader and composer Arturo Sandoval’s latest album — the title is a malapropism of “sounds good” made during the studio sessions — features 12 tracks of Afro-Cuban funk, blending bebop, fiery jazz fusion and batá-inspired rhythms. Sandoval will perform June 4-7 at Blue Note Los Angeles. Self-released: digital download, $9.50. arturosandoval.com
— Kevin Crust
Culture news and the SoCal scene
Maria Wirries and LJ Benet in “The Lost Boys,” from left; Sara Chase and Brad Oscar appear onstage during curtain call of “Schmigadoon!” on opening night, and Joshua Henry and the cast of “Ragtime.”
(Matthew Murphy, left and right; Valerie Terranova / WireImage, center.)
Tony Award nominations were announced early this week with musicals “The Lost Boys” and “Schmigadoon!” leading nominations with 12 each, followed by “Ragtime” with 11. Malia Mendez has the full list, here, and Times theater critic Charles McNulty followed up with a story on 10 standout Broadway performances and shows worth celebrating, including Laurie Metcalf in both Samuel D. Hunter’s “Little Bear Ridge Road” and this spring’s revival of “Death of a Salesman.”
The Pulitzer Prizes were announced the day before the Tony nominations, and Bess Wohl’s play “Liberation” took home the 2026 Pulitzer for drama. The win foreshadowed what would come next: “Liberation” was nominated for five Tonys, including best play and director.
McNulty also rounded up three major Broadway musicals in one handy, sweeping review: “Cats: The Jellicle Ball,” “The Lost Boys” and “Titanique.” “Cats,” notes McNulty, has managed to distance itself from its kitschy reputation and checkered past to become “one of the hottest tickets of the Broadway season. It didn’t take a miracle, only a complete conceptual overhaul.” Happily, “The Lost Boys” also won McNulty over despite his “antipathy to vampire schlock.” “Titanique” was not McNulty’s favorite, but he noticed that his fellow theatergoers couldn’t get enough.
Joe Mantello at his home in New York on Friday, April 3, 2026.
(Evelyn Freja / For The Times)
There was not one free moment in McNulty’s New York itinerary in early March. While attending a flurry of shows, our critic also sat down to a brunch interview with director Joe Mantello during rehearsals for the new Broadway revival of “Death of a Salesman.” “A two-time Tony-winning director (‘Assassins,’ ‘Take Me Out’), Mantello has a résumé so extensive that it can be startling to recall that he’s the original Broadway director of “Wicked,” the blockbuster that has allowed him to write his own ticket. There aren’t many theater directors who can pick and choose their projects without worrying about their next paycheck, but he has become the Mike Nichols of our era in terms of the breadth and consistency of his theatrical success,” writes McNulty,
The Times got the scoop that Holocaust Museum LA will reopen June 14 as part of the new $70-million, 70,000-square-foot Goldrich Cultural Center. The center doubles the museum’s original 35,000-square-foot footprint and broadens the institution’s “focus on inclusion and community, with a diverse range of events and ramped-up educational offerings,” writes Times contributor Solvej Schou.
Composer John Williams, 94, attended the dedication ceremony of the new John Williams Performing Arts Center at North Hollywood High on April 29, 2026.
(Genaro Molina / Los Angeles Times)
Times contributor Tim Greiving, who is also the author of a biography on John Williams, covered a ribbon-cutting ceremony for the new John Williams Performing Arts Center at North Hollywood High — the famed film composer’s alma mater. Williams, 94, was in attendance and gave a few brief remarks in front of a crowd filled with other notable school alumni and friends including Kathleen Kennedy.
The Times published an exclusive on Pasadena Playhouse’s new 2026-27 season, which includes the post-Broadway debut of “Real Women Have Curves: The Musical.” Other offerings include a new production of Friedrich Dürrenmatt’s tragicomedy “The Visit,” the L.A. premiere of “Passing Strange,” and a revival of “Cat on a Hot Tin Roof.”
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Comedian Kathy Griffin is staging her first-ever residency at the Plaza Theatre in Palm Springs. “Can You Handle This Heat? The Kathy Griffin Palm Springs Residency,” is scheduled to run from Jan. 31 to Feb. 26, 2027. Tickets go on sale today.
The Soraya has announced it 2026-27 season featuring eight noteworthy debuts and 45 performances, including Sutton Foster with Chris Walden and the Pacific Jazz Orchestra; the eclectic band Snarky Puppy; Majo Aguilar con Mariachi y Banda; Dance Theatre of Harlem; National Symphony Orchestra of Ukraine; Los Angeles Philharmonic; Audra McDonald; and the National Symphony Orchestra. The new lineup also introduces Chad Hilligus as the Soraya’s new executive and artistic director.
Grand Performances announced its 40th annual Summer Concert Series featuring free outdoor shows in downtown L.A.’s California Plaza from June 6–Aug. 29. Highlights include a June 13 anniversary celebration with Jungle Fire, Healing Gems and DJ Liza Richardson; a tribute to the music of Stevie Wonder with DJ Spinna, Monalisa and MC Cognito; and a tribute to Roy Ayers led by composer Sly5thAve with a 12-piece ensemble including drummer Kassa Overall.
To describe a movie as including a ski mask, a camcorder and $50,000 in cash would certainly lead one to imagine a specific type of story. Add two men and sex work and the brain might roll around more pointed scenarios.
But none of that can prepare you for what micro-indie “Blue Film” has in store. The nexus of perversion, pain and sexual purpose driving writer-director Elliot Tuttle’s dark, discursive chamber drama is of a stripe rarely attempted in even the most self-consciously daring movies. Should you need a self-imposed break afterward from intimate two-handers, even Tuttle might understand, then wink in the general direction of his Pasolini posters. (I’m guessing at this provocateur’s wall art.)
Is it clear yet that “Blue Film,” set primarily in a house in Los Angeles over the course of a revelatory night, isn’t for everybody? Some of that “everybody,” incidentally, includes the festivals and distributors who rejected the queer filmmaker’s debut feature, despite having critical buzz, Tony-winning actor Reed Birney as one of its stars and indie guru Mark Duplass as a mentoring producer.
But certain subjects (spoilers ahead) are bound to trigger a different kind of scrutiny. Initially, our attention is on macho-posturing tattooed camboy Aaron (“Boots” star Kieron Moore), graphically boasting to his followers online of the big payday he’ll receive that evening from a submissive client. What he later encounters, however, at the door of a Craftsman on a quiet street is a masked, polite, older host (Birney) with a camera and, once it’s turned on, a lot of personal questions, the kind that begin to crack the facade of a young man used to being in control of his transactional life.
Then his client’s face is revealed and Aaron recognizes it’s his middle school teacher Hank, a convicted pedophile who once coveted him. Hank, who completed prison time for the attempted assault of a different boy, has made a cross-country trip to seek out the adult version of someone who could have been his first victim. He is still processing what he is, wondering if desire, even love, is available to him anymore.
The question is, will you care? Even viewed through Aaron’s cautious, clear-eyed empathy, it’s a steep ask. But you should. Tuttle’s fearless inquisition won’t insult your intelligence, ask your mercy or hogtie your feelings. Honestly, it’s refreshing to be repulsed and intrigued by a movie willing to plumb these psychological depths when Hollywood won’t. In its commitment to unvarnished talk — even if that leads to a clunky staginess — “Blue Film” has thoughts about identity, choice, sin and salvation. There’s a sincere engagement with humanity’s more difficult realities.
Needless to say, this type of graphically articulated exchange wouldn’t work if the performances didn’t land. Thankfully, Moore’s affecting portrayal of jumbled masculinity mixed with situational curiosity is well-calibrated, while Birney, a pro with a challenge, eases us into Hank’s weary self-possession (if not always the nauseating facts of it) before coloring outside the lines with a believably interesting philosophy about reckoning.
But “Blue Film” is tough, make no mistake. Awkward and searching, it exists in a filmic space that you could argue was opened up by last year’s courageous documentary “Predators.” And sometimes that gaze is just discomfiting, full stop. Tuttle wants that. He has room to improve but he’s someone to watch, plumbing the hard-to-fathom.
Coronation street fans think they have worked out who killed Theo Silverton after telling scenes aired on Friday night’s episode of the world’s long-running TV soap
Could Theo have been killed by his ex-wife?
Coronation street fans think they have worked out who killed Theo Silverton. The scaffolder, who was played by former Tracy Beaker star James Cartwright, was found dead at the end of the ITV soap’s much-hyped murder week.
When Theo was introduced, he was married to Danielle Silverton (Natalie Anderson) but he began an affair with Todd Grimshaw and, once he had split from his wife, they began an official relationship but it quickly turned sour.
For almost a year, Theo terrorised Todd with bizarre forms of abuse, both mental and physical, and caused the death of his best friend Billy (Daniel Brocklebank) in the crossover with Emmerdale.
Still coming to terms with the loss of Theo, on Friday’s episode of the world’s longest-running TV soap, Todd was surprised to see Danielle turn up at his flat amid the murder investigations, where she revealed more about her past with Theo. He said: “The police have already interviewed me. I had nothing to do with Theo’s death.”
But Danielle wasn’t convinced, and she shot back: “If he hadn’t met you, he’d still be alive. My kids would still have a dad! Maybe you got cold feet, thought it was easier if he was dead.”
It was then that Danielle started to say more about what she had been through. She said: “Since he’s been gone, I’ve been thinking back over our relationship. What kind of man he was. It’s what made me wonder if you’d snapped. Killed him.
“He was a good dad… especially when the kids were little. I knew he had a short fuse. God, sometimes we’d go at it like hammer and tongs.” When Todd claimed he “gave Theo power,” Danielle pushed back as she said: “No. Theo took power. He had all the power in our relationship, too. He just… didn’t abuse it.
“Though, actually, he did make all the decisions about everything. Where we lived, how we lived, how we parented. Every time we argued, I gave in. Because, secretly, I was afraid of him. I mean, he never hurt me or the kids, and I didn’t want to believe he was a bad man. But I knew how controlling he was.”
Danielle is an official suspect along with Todd, his father figure George Shuttleworth, his daughter Summer Spellman, and Theo’s former colleague Gary Windass, as revealed by bosses of the soap earlier this week. But fans think that they might have sussed it after Danielle’s sudden appearance.
One fan wrote on X: “Oh wow, I wasn’t expecting Danielle to say that. Was it Danielle?” whilst another said: “Go on, admit it Danielle.” A third suspected that the way in which Danielle had instantly accused Todd meant that she was the guilty one.
They wrote: “That scene where she turned up to the flat was very interesting because she instantly interrogated Todd, almost like she was deflecting or bluffing. That’s what made me think she killed him.”
Coronation Streetairs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am onITVX.
Trevor Bauer wants to pitch in the majors again — so much so that he’s willing to start over in the lowest levels of the minor leagues and work his way up.
And he’s willing to do it without being paid.
That’s the hypothetical Bauer proposed Friday on X: A talented former Cy Young Award winner signs a minor league deal with an MLB team for a “$0 salary” and can be cut at any time at no financial risk to the organization.
Since his last MLB start on June 28, 2021, as a member of the Dodgers with a $102-million, three-year contract, Bauer has been accused of sexual assault by four women. He served a 194-game suspension for violating the league’s sexual assault and domestic violence policy. He has denied all the allegations and has never been charged with a crime.
While some might think signing Bauer might be a risky move for an MLB organization, Bauer feels his plan is foolproof in that regard.
“Hypothetical: You’re the owner of an MLB team,” Bauer wrote. “I offer to take $0 salary and sign a minor league contract and go to Low A. If the ‘he sucks now’ crowd is right and I get lit up, you cut me, lose $0 and there’s no risk to the big league club.
Hypothetical: You’re the owner of an MLB team. I offer to take $0 salary and sign a minor league contract and go to Low A.
If the “he sucks now” crowd is right and I get lit up, you cut me, lose $0 and there’s no risk to the big league club.
If the “clubhouse cancer” crowd is…
— Trevor Bauer (トレバー・バウアー) (@BauerOutage) May 8, 2026
“If the ‘clubhouse cancer’ crowd is right, you see it immediately at Low A and cut me. You lose $0 and there’s no risk to the big league club. If there’s massive negative PR, which we already know there won’t be, you just cut me and move on. The story is dead in a couple days, you lose $0, and there’s no risk to the big league club.”
In the comments on Bauer’s post, someone challenged him on the notion that “we already know there won’t be” any negative PR if he is signed. In response, Bauer pointed to his current stint with the Long Island Ducks of the independent Atlantic League to support his argument.
“Where has the negative PR been?” wrote Bauer, who is 3-1 this season and pitched a no-hitter for the Ducks late last month. “I’m playing in America. In New York of all places. Most ‘hostile’ media market in the United States. Stadiums are sold out when I pitch. There’s no boycotts. No media frenzy. Where is it?”
Bauer wrote in his proposal that if none of the negatives he laid out earlier happen, then the organization can promote their cost-free pitcher through the ranks, re-evaluating him every step of the way, until he reaches the big leagues — “if I earn it,” he wrote, “which you’d be 100% in control of deciding.”
“If you don’t think I’m good enough, you lose $0 and there’s no risk to the big league club,” Bauer wrote. “You could take away my ‘antics’. You could take away my social media. You could ask anything of me. If I don’t comply, you cut me, lose $0, and there’s no risk to the big league club.”
One X user asked why Bauer doesn’t just take away his “antics” on his own.
“Because no teams actually care about that,” Bauer responded. “They enjoy the content. And I’m not going to rob baseball fans of great baseball entertainment just to solve a problem that only exists in the minds of x bots.”
Informed that the MLB Players Assn. might have an issue with him playing for free, Bauer replied, “Who gives a crap about what mlbpa does or doesn’t want?”
This isn’t the first time Bauer has made what he considers to be a low-risk proposal for an organization to bring him back into the league. In 2024, Bauer spoke with The Times’ Bill Shaikin about an offer he made to play for the league minimum.
“The reason for that was, I want to go back to work, and I am trying to find any way that I possibly can to limit the risk and exposure for a team,” Bauer said. “I realize there are a lot of other things, outside of the on-field stuff, that go into whether to sign me. So I figured that, if I could limit the on-field risk as much as possible, perhaps that offsets some of the other perceived risks.”
It remains to be seen whether any club is willing to take up Bauer on his current offer.
“What logical reason is there to not do this?” Bauer wrote. “At worst, you cut me and there’s no risk to the big league club. At best, you get a Cy Young winner for $0 who you know can still pitch and could help the big league team if and when you see fit.”
Former Miami Marlins president David Samson weighed in on Bauer’s proposal in a post on X.
“This will never happen,” Samson wrote. “First of all, no team wants to sign him. Secondly, no player is allowed to play for $0. And finally, no team wants to sign him.”
An Amazon MGM Studios executive allegedly solicited kickbacks from an aspiring vendor in exchange for post-production contract awards on shows, according to a recently filed lawsuit.
Joe Eckardt, owner and president of Hollywood-based postproduction services firm Unbreakable Post, alleged that the studio’s head of postproduction, Frank Salinas, told him during a business lunch in 2023 that Salinas could “ensure” Unbreakable Post would be included as an approved vendor to bid on Amazon-affiliated projects.
Salinas would give Eckardt the target budget number for his company’s bid and “effectively guarantee that Unbreakable would be awarded the work,” the lawsuit states.
After the contract was awarded, Eckardt would then pay Salinas a percentage of the project value as a kickback, the lawsuit says.
After Eckardt refused, he alleges that his contract opportunities with Amazon dried up.
He states in the lawsuit that although he had done “substantial” work, served as a postproduction consultant or selected vendor on shows such as the Mexico, Brazil and Argentina productions of the reality series “Temptation Island” and the third season of documentary series “Coach Prime,” he was not selected by Amazon for a contract with those projects.
In 2025, Eckardt alleges that he reported Salinas’ conduct to Amazon and after six months of information gathering, the company told him that “its investigation had concluded and that the allegations were ‘not substantiated.’”
Amazon MGM Studios did not respond to a request for comment. Salinas declined to comment.
Eckardt’s lawsuit was filed Wednesday in Los Angeles County Superior Court. He alleges that he lost more than $1 million in contracts, income and future business opportunities. He is seeking a jury trial.
This time last year, Swansea had built significant momentum under former boss Alan Sheehan, who had inspired an upturn in form to ward off relegation concerns after the Luke Williams era ended on the back of a worrying slump.
In the previous campaign, Williams was the man who masterminded the turnaround in fortunes after Michael Duff’s forgettable stint in charge.
Matos’ challenge is to change the record at Swansea, who will begin 2026-27 with an eye on the play-offs, as was the case at the start of the season which ended with Saturday’s win over Charlton Athletic.
There is likely to be a little more expectation next time around given that the teams finishing seventh and eighth will secure play-off places in a year’s time.
Yet it is worth remembering that aside from their two play-off campaigns under Steve Cooper – when parachute payments still offered a helping hand – the best finish Swansea have managed since dropping out of the top flight is 10th, first Graham Potter in 2019 and then Russell Martin three years ago.
Matos’ team finished 11th, just as Sheehan’s side did last year, although Swansea had three more points this time around.
Ultimately, they were nine points short of Hull City, who claimed the last of this season’s play-off places, and five adrift of Derby County, who ended in eighth.
LOUISVILLE, Ky. — Before Cherie DeVaux won a Breeders’ Cup race, before one of her horses won an Eclipse Award, before she became the answer to a Siri question — “Who was the first female trainer to win the Kentucky Derby?” — she faced the same problem as every new trainer.
She needed horses.
Fortunately for her, this was 2018 and she had just married David Ingordo, a leading bloodstock agent. Surely he’d bring her some top horses and DeVaux would be on her way.
Except … it took DeVaux 11 months to win her first race.
Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, celebrates with her husband, David Ingordo, on Saturday at Churchill Downs in Louisville, Ky.
(Andy Lyons / Getty Images)
“That was 100% my fault,” Ingordo said. “We gathered up some horses of our own; we were totally self-funded. And the collection of horses I gathered up were yaks and llamas and sheep. They weren’t related to the equine species.
“I told her, ‘You should have divorced me for the effing horses I put in there.’”
Ingordo was telling this story Sunday, standing in the morning chill outside Barn 37 at Churchill Downs, where dozens of cameras and a few reporters were there to record every word his wife had to say, 12 hours after she made history.
“Good thing I don’t have social anxiety,” DeVaux quipped as she stepped in front of the throng.
She reported Golden Tempo, munching on some hay in his stall maybe 50 feet behind her, was doing well, two hours before he took a 70-mile van ride to DeVaux’s base at Keeneland. A decision on whether he will continue east next week to Laurel Park, temporary home of the May 16 Preakness, won’t be made for several days.
DeVaux said she celebrated with family late Saturday night, eventually getting to sleep at 1:30 a.m. and allowing herself to “sleep in a bit,” not rising until a whole four hours later. There were more than 800 text messages on her phone and she was thinking about what she was going to pack for a flight to New York, where she’s scheduled to appear at 7:30 a.m. Monday on NBC’s “Today.”
“I don’t know if the enormity of this has sunk in yet,” she said.
But DeVaux, 44, has never forgotten where she came from. She grew up in Saratoga Springs, N.Y., which is known for thoroughbred racing, but her family was involved in harness racing and she never wanted to be a trainer anyway. She was in college when most of her family moved to Florida, and she stayed behind to finish school. She needed a job to help pay tuition, and her mom told her there was a racetrack across the street “and all you have to do is walk the horses.”
Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, is surrounded by media in the winner’s circle Saturday in Louisville, Ky.
(Michael Reaves / Getty Images)
DeVaux’s plan was to go to medical school, but when an advisor said she had to take a class in organic chemistry, “I just looked at her and said: ‘No, I’m going to go work on the racetrack.’ She’s like: ‘Are you sure?’ and I was like, ‘I’m just going to see how it works.’”
Her first job was with Chuck Simon, who had worked for her father. She was 22 when she showed up at Churchill Downs.
“I was a wild child,” DeVaux said Saturday night. “Chuck saw I was going the wrong way and took me under his wing and made me be an assistant trainer, begrudgingly, because I was really enjoying the party life. But he kind of wrangled me in.
“He would be so proud. I am here because of him. Because he pushed me. He pushed my boundaries. He gave me direction when I needed it. And he was always proud of me. But I just think this definitely would have put him over the top.”
Holding one of the roses that came with Golden Tempo’s victory, she added, “And I can’t wait to drop one of these off at our old barn here.”
She did just that Saturday night before leaving the track.
Cherie DeVaux, trainer of Golden Tempo, looks on during morning workouts ahead of the Kentucky Derby on April 27 at Churchill Downs in Louisville, Ky.
(Michael Reaves / Getty Images)
“It was really emotional,” she said Sunday of her stop at Barn 14. “You know, you walk up, and all the memories flood back of being there, and … it’s an honor to get to be able to do something, you know? It’s just a rose, but it meant a lot. That was where I first unloaded my car, and I thought, ‘OK, let’s do this.’”
DeVaux then worked several years for Chad Brown before making the decision to go out on her own. She said Ingordo told her to give it three years and if it didn’t work, she could do something else.
But Ingordo, who has been working in racing since he was 15, spending time with trainers such as Bobby Frankel and Bruce Headley and later his stepfather, John Shirreffs, said he knew it would work.
“I always say that talent and class are evident in horses and people very quickly,” Ingordo said. “And, you know, I’d watch Cherie and see her, and I knew her from her previous job. And I could watch … the one trainer’s name might have been on the headlines, but I saw who was doing the work. And I told her, ‘You’re too talented to be an assistant. And it’d be a waste if you don’t try it.’”
It did work. Slowly at first, but business picked up and DeVaux started winning bigger races. Her breakthrough came in 2023 when she had the likes of More Than Looks, Vahva and She Feels Pretty. The latter provided her first Grade 1 win in the 2023 Natalma at Woodbine, and the next year all three of those horses captured Grade 1 races, including More Than Looks in the Breeders’ Cup Mile at Del Mar. Last year, She Feels Pretty won two more Grade 1s and was voted the Eclipse Award as top female turf horse.
She has a life away from the track as well, as much as any trainer can have. Ingordo has full custody of a 15-year-old daughter from a previous marriage, and he said, “Meeting Cherie was not only good for me, it’s been great for my daughter.”
As for making history, Ingordo said it wasn’t anything they talked about, and DeVaux “doesn’t sit there and go, ‘I’m a woman, hear me roar.’
“But at the same time,” he said, “she’s very cognizant of the fact this is a very male-dominated business throughout history. It’s probably a little chauvinist at times, if not more.
“And for her to do this. … You know, she’s not a one-hit wonder. The top 25 should be her domain, somewhere in there, for a long time.”
MIAMI — A former Miami congressman and longtime friend of U.S. Secretary of State Marco Rubio was convicted Friday in connection with a secret $50-million lobbying campaign on behalf of Venezuela during the first Trump administration.
Jurors found Republican David Rivera and an associate, Esther Nuhfer, guilty on all counts, including failing to register as a foreign agent with the Justice Department and conspiracy to commit money laundering as part of their work for former President Nicolás Maduro’s government.
The seven-week trial offered a rare glimpse into Miami’s role as a crossroads for foreign influence campaigns aimed at shaping U.S. policy toward Latin America, one highlighting the city’s reputation as a magnet for corruption and anti-Communist crusaders among its sizable exile population.
It included testimony from Rubio, Texas Congressman Pete Sessions and a top Washington lobbyist — all of whom testified that they were shocked to learn belatedly of Rivera’s consulting contract with a U.S.-based affiliate of Venezuela’s state oil company, PDVSA.
In an 11-count indictment unsealed in 2022, prosecutors alleged that Rivera was tapped by then Foreign Minister Delcy Rodríguez — now Venezuela’s acting president — to work Republican connections from Rivera’s time in Congress to get the first Trump administration to abandon its hard-line stance and ease crippling sanctions on Venezuela.
As part of the charm offensive, prosecutors alleged, Rivera and Nuhfer, a political consultant, manipulated influential friends, including Rubio and Sessions, like “pawns on a chess board.” The goal: to try to normalize relations with the new Trump administration at a time when the Maduro government was buffeted by serious accusations of human rights violations.
“As long as the money kept coming in, they didn’t care from where,” prosecutor Roger Cruz said of the defendants during closing arguments.
‘Massive secret’ threatened to damage Rivera’s political career
But the two held onto the “massive secret” and didn’t disclose their lobbying work as required, for fear it would have ended Rivera’s political career as an anti-Communist stalwart, Cruz said.
To hide his work, prosecutors allege, Rivera also set up an encrypted chat group called MIA — for Miami — with his main conduit to the Maduro government: Venezuelan media tycoon Raúl Gorrín, who was subsequently charged in the U.S. with bribing top Venezuelan officials.
Members of the group used playful code words to discuss their activities: Maduro was the “bus driver,” Sessions “Sombrero,” Rodríguez “The Lady in Red,” and millions of dollars “melons,” according to copies of text messages presented to the jury.
“It was all about la Luz,” Cruz said, referring to the Spanish word for light, which Rivera and others repeatedly used to discuss payments from Caracas.
Attorneys for Rivera and Nuhfer said the two acted in good faith and believed they were under no requirement to disclose their work. The three-month, $50-million contract with Rivera’s one-man consulting firm, they say, was focused exclusively on luring oil giant ExxonMobil back to Venezuela — commercial work that is generally exempt from the Foreign Agents Registration Act.
Wholly distinct from that consulting work, they say, were Rivera’s meetings with Rubio and Sessions, which occurred after the consulting contract had expired and was focused on ushering in leadership in Venezuela that would be less hostile to the U.S.
“He was working every possible angle to get Nicolás Maduro out,” defense attorney Ed Shohat said during closing arguments. “There was not a word in the chats about normalizing relations.”
Nuhfer’s attorney, David Oscar Markus, likened the government’s case to the 17th century Salem witch trials, presuming ill intent that was belied by the flimsiest of evidence.
“My client does not have a dark heart,” he said.
Exxon meetings for Rodríguez
Prosecutors said Rivera used the contract with New York-based PDV USA as cover for illegal lobbying.
Once exposed, the partners tried to hide the work — backdating documents and coming up with sham agreements like one to justify a wire transfer of $3.75 million to a South Florida company that maintained Gorrín’s luxury yacht.
The political activity included setting up meetings for Rodríguez in New York, Caracas, Washington and Dallas. As part of the effort, the two roped in Sessions, who later tried to broker a meeting for Rodríguez with the CEO of ExxonMobil that had succeeded Trump’s then-secretary of State, Rex Tillerson. After a secret meeting in Caracas with Maduro, Sessions also agreed to deliver a letter from the Venezuelan president to Trump.
The outreach quickly unraveled, however. Within six months of taking office, Trump sanctioned Maduro and labeled him a “dictator,” launching a “maximum pressure” campaign to unseat the president.
However, nearly a decade later, Rodríguez has emerged as the second Trump administration’s trusted partner after the U.S. military’s ousting of Maduro.
Before being elected to Congress in 2010, Rivera was a high-ranking Florida legislator. During that time, he shared a Tallahassee home with Rubio, who eventually became the Florida House speaker.
Rivera has previously faced controversy, including allegations that he secretly funded a Democratic spoiler candidate in a 2012 congressional race. Last year, federal prosecutors dropped the case after an appeals court threw out a sizable fine imposed by a lower court. Rivera was also investigated — but never charged — for alleged campaign finance violations and a $1-million contract with a gambling company while serving in the Florida legislature.
The 61st Venice Biennale — the world’s most celebrated international exhibition of contemporary art — made headlines Thursday when its awards jury resigned amid a growing controversy over its April 23 decision to exclude countries charged with crimes against humanity by the International Criminal Court.
In the current moment, this specifically meant Israel and Russia, and an uproar ensued — particularly with regard to Israel. The Israel Foreign Ministry blasted the decision on social media, writing in an April 26 post that the boycott “is a contamination of the art world. The political jury has transformed the Biennale from an open artistic space of free, boundless ideas into a spectacle of false, anti-Israeli political indoctrination.”
The jury posted its brief statement of resignation online four days later “in acknowledgment” of its original decree, in which it wrote, “At this edition of the Biennale, we wish to set out our intention — to express our commitment to the defense of human rights,” before explaining it would not consider certain countries for awards.
The Biennale moved swiftly to reverse course after the jury’s resignation, issuing a news release that noted, “All National Participations included in the 61st Exhibition … are eligible … following the principle of inclusion and equal treatment among all participants. This is consistent with the founding spirit of La Biennale, based on openness, dialogue, and the rejection of any form of closure or censorship. La Biennale seeks to be — and must remain — a place of truce in the name of art, culture, and artistic freedom.”
To that end, the awards ceremony originally scheduled to take place on May 9 has been pushed to November 22 — the last day the exhibition is open to the public. There is precedent for “exceptional circumstances” delays, and the last one took place in 2021 as a result of the COVID-19 pandemic.
Without precedent, however, are the newly established awards, created to replace the coveted Golden Lion awards that the jury traditionally hands out to two winners each year. This year, instead of the Golden Lion for best national participation at the Biennale; and the Golden Lion for best participant in the Biennale’s central exhibition, the Biennale has established two Visitors’ Lions to be awarded in the same categories.
Instead of a jury deciding the winners this year, the honor will be left — as the new award name specifies — to the exhibition visitors.
“Visitors eligible to vote for the Visitors’ Lions are ticket holders who have visited both Exhibition venues,” the release reads.
“Visits to both venues will be verified through the ticketing system’s tracking. Each ticket holder may cast one vote for each of the two awards, in one single session.”
Whether Visitors’ Lions will become a Biennale mainstay remains to be seen — but I can imagine the democratic idea might keep its place when the Golden Lions make their return next year.
I’m Arts editor Jessica Gelt doing my best to tread water in difficult times. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Quentin Lee and Justin Lin on the set of their debut feature, “Shopping for Fangs.”
(Margin Films)
Celebrating 30 Years of Margin Films Award-winning filmmaker Quentin Lee and his production company mark three decades in the business with a weeklong screening series. Lee’s breakout 1997 debut “Shopping for Fangs,” co-directed by Justin Lin, is the opening film. Also screening: “Ethan Mao,” Saturday; “The People I’ve Slept With,” Sunday; “The Unbidden,” Monday; “Rez Comedy,” Tuesday; “Last Summer of Nathan Lee,” Wednesday; and a sneak peak of three episodes of the Canadian TV series “Comedy InvAsian III,” Thursday. Selected screening includes a Q&A. Lee is also releasing a book, “Cinemasianamerica,” commemorating the occasion. Each film screens one day, 1:30, 4:30 and 7:30 p.m., through Thursday. Laemmle Royal, 11523 Santa Monica Blvd., West L.A. laemmle.com
Dvořák and Korngold Conductor Andrés Orozco-Estrada and the Los Angeles Philharmonic pay tribute to Michael Tilson Thomas, who died April 22, with his composition “Agnegram,” and perform Korngold’s “Concerto in D major for Violin and Orchestra” with violinist María Dueñas. The evening concludes with “Symphony No. 7 in D minor” by Dvořák. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Anna Van Valin, from left, Elias Scoufaras and Bruce Nozick in “Warsaw” at International City Theatre.
(Jordan Gohara)
Warsaw The world premiere of British playwright and “Selma” screenwriter Paul Webb’s drama about the fate of a woman whose life links two monumental historic moments, World War II and Sept. 11. 7:30 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through May 17. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
SATURDAY
The Kronos Quartet, from left: Gabriela Díaz, David Harrington, Ayane Kozasa and Paul Wiancko.
(Danica Taylor)
Kronos Quartet The West Coast premiere of the group’s latest large-scale multimedia project, “Three Bones,” which combines live performance, video, visual art, recordings and environmental sound to explore the histories of Indigenous, Gullah Geechee and Chinese American communities in the United States. 6 p.m. UC Santa Barbara campus, Campbell Hall. artsandlectures.ucsb.edu
Michael Caine, from left, Scarlett Johansson and Hugh Jackman in the “The Prestige,” screening Saturday at the Aero.
(Francois Duhamel / Touchstone & Warner Bros. Pictures)
The Prestige Hugh Jackman and Christian Bale square off as rival magicians in a 20th anniversary 35mm screening of Christopher Nolan’s sci-fi thriller. 7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
The cast of “Carlota: Alhajero de Secretos,” opening Saturday at LATC.
(Teatro Alebrijes)
Carlota: Alhajero de Secretos Writer-directors Rodrigo García and Ugho Badú reimagine Federico García Lorca’s tragedy “The House of Bernarda Alba.” The co-production between San José-based LGBTQ+ ensemble Teatro Alebrijes and L.A.’s Latino Theater Company is in Spanish with English supertitles. 8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through May 24. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org
SUNDAY
Henri Lubatti in “Exit the King” at A Noise Within.
(Daniel Reichert)
Exit the King Eugène Ionesco’s classic absurdist comedy about a desperate monarch who refuses to admit his time has come, translated by Donald Watson and directed by Michael Michetti. Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and May 8; opening night, 7:30 p.m. May 9; runs through May 31. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
Organist Anna Lapwood performs at Walt Disney Concert Hall on Sunday.
(Gerald Matzka / Getty Images)
Anna Lapwood The popular organist performs work from “The Da Vinci Code,” “The Hunchback of Notre Dame,” “The Lord of the Rings,” “Star Wars Episode I – The Phantom Menace,” “Flight” and “Pirates of the Caribbean,” as well as Olivia Belli’s organ solo “Limina Luminis,” in this recital. 7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
TUESDAY
Willie Birch, “Uptown Memories (A Day in the Life of the Magnolia Project),” 1995. Painted papier-mâché and mixed media, 82 × 62 × 60 in. New Orleans Museum of Art.
(Roman Alokhin)
Willie Birch: Stories to Tell This career retrospective details Birch’s exploration of the Black American experience since the 1960s, posing difficult questions along the way in his work as an artist, community organizer and “cultural provocateur.” 10 a.m.to 5 p.m. Tuesdays to Saturdays; 11 a.m. to 5 p.m. Sundays, through Oct. 21. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
Lucía performs Tuesday at the Carpenter Center in Long Beach.
(Shervin Lainez)
Jazz in Long Beach Two jazz-influenced acts come to the Carpenter Center next week. Lucía brings her signature mix of traditional American jazz and Latin folk in a Spotlight Sessions concert on the Cabaret Stage. She’ll also be performing songs from her forthcoming album. “The Magic of Manhattan Starring Benny Benack III” is a tribute to the Big Apple and the songs and singers most associated with it, including Blossom Dearie, Frank Sinatra and Billy Joel. Lucía, 8 p.m. Tuesday; Benny Benack III, 7 p.m. Wednesday and Thursday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
Smith, Cabezas & Childs Molly Turner conducts the LA Phil New Music Group, with multi-instrumentalist and vocalist Gabriella Smith, cellist Gabriel Cabezas and jazz pianist Billy Childs in a program of eco-friendly music curated by Smith, including compositions by Smith, Childs, Michael Gordon, John Cage and Esa-Pekka Salonen. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
WEDNESDAY Andrés Jaramillo: A Journey of Immigrants, Part II The Colombian American pianist follows up on his January 2025 program with a celebration of the global cultural exchange created by immigrants, placing Latin American composers within the Romantic tradition. Featuring works by Chopin, Calvo, Mejía, Barber, Lecuona, Friedhoff-Calvo and Pinzón-Arroyo. Presented by Piano Spheres. 8 p.m. Wednesday. Thayer Hall at Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org
Morgan Freeman, left, and Brad Pitt star in David Fincher’s 1995 film “Seven.”
(Robert Isenberg / New Line Cinema)
Seven A 4k screening of David Fincher’s 1995 thriller about two cops on the trail of a serial killer. Appearances by production designer Arthur Max and set decorator Clay Griffith. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
THURSDAY
“Dancing with Bob: Rauschenberg, Brown & Cunningham Onstage” at the Wallis, May 7 to 9.
(The Wallis Annenberg Center for the Performing Arts)
Dancing With Bob: Rauschenberg, Brown & Cunningham Onstage This kinetic retrospective captures the cross-disciplinary collaborations between vanguard artist Robert Rauschenberg and choreographers Trisha Brown (“Set and Reset,” with an electronic score by Laurie Anderson) and Merce Cunningham (“Travelogue,” created with John Cage). 7:30 p.m. Thursday and May 8; 2 p.m. May 9. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
The Physicists Albert Einstein and Isaac Newton are residents of an insane asylum beset by murder, mayhem, espionage and questions about the morality and ethics of science in this 1962 German satire by Friedrich Dürrenmatt. Directed by Brent Hinkley. 8 p.m. Thursdays and Saturdays; 2 p.m. Sundays, through June 20. The Actors’ Gang Theater, 9070 Venice Blvd., Culver City. theactorsgang.com
Arts anywhere
New and recent releases of arts-related media.
The Adding Machine Currently running at the Theater at St. Clement’s in Hell’s Kitchen, New York City, through May 17, this New Group production with a revised script by Thomas Bradshaw receives a one-time livestream next week. “[Elmer] Rice’s expressionist drama is known for being a tale of man vs. machine in an age of merciless efficiency, but inhumanity in a broader sense is its true core subject,” wrote Laura Collins-Hughes in a recent New York Times review. “The happy news about Scott Elliott’s handsome yet under-realized revival … is what a delight Daphne Rubin-Vega is to watch as Mr. Zero.” The cast also features Sarita Choudhury, Michael Cyril Creighton and Jennifer Tilly. The League of Live Stream Theater: 4 p.m. Tuesday. $40, includes 24-hour replay.
Art Work Photographer and writer Sally Mann weighs in on the creative process with stories, advice and life lessons, all illustrated with photos, journal entries and letters, making for a compelling, often surprising journey. Abrams Books: 272 pages, $35
“Insomnia & Seven Steps to Grace” by Joy Harjo.
(Smithsonian Folkways Recordings)
Insomnia and Seven Steps to Grace The new album by Joy Harjo, the first Native American to be named United States Poet Laureate, serving from 2019 to 2022, combines jazz, funk, rock and Native music sounds with her signature “vibration of love” as she boldly confronts injustice and draws inspiration from ancestral memory and the political turmoil of the moment. The double LP’s packaging features original art by Harjo and the poet’s extensive liner notes. Five-time Grammy winner Esperanza Spalding produced as well as contributed vocals and played bass on the project. Smithsonian Folkways: Double vinyl LP ($33), CD ($17), hi-res digital download ($13), digital download ($10).
— Kevin Crust
Culture news and the SoCal scene
Michael Tilson Thomas in 2018.
(Paul Marotta/Getty Images)
Times classical music critic Mark Swed wrote a lovely appreciation of conductor Michael Tilson Thomas, who died last week at the age of 81. Tilson Thomas, Swed wrote, “made music matter by making hope matter. He was, moreover, one of us. He achieved greatness though an epic amplification of a uniquely L.A. positivity in which grumpy became wistful.”
LA Opera music director James Conlon is preparing to step down after a record 20 seasons with the company, and in a recent story, Swed cataloged his impressive numbers: “More than 500 performances of 70 different operas at the Dorothy Chandler Pavilion and occasional neighboring venues, such as the Cathedral of Our Lady of the Angels.” Swed attended a recent farewell gala and noted some highlights, including excerpts from “The Marriage of Figaro.”
Times theater critic Charles McNulty spent a recent trip to New York almost entirely in various Broadway theaters, catching up on what he says is a “strange season by all accounts.” McNulty notes that Broadway is still the place acting powerhouses like Adrien Brody, John Lithgow and Laurie Metcalf go in search of the kind of depthy material increasingly unavailable onscreen. He looks at four such shows — and their epic leading actors — including “Death of a Salesman,” “Giant,” “The Fear of 13” and “Dog Day Afternoon.”
David Henry Hwang (book adapter, “Flower Drum Song”) and Alexandra Silber (book adapter, “Brigadoon”) at the James Irvine Japanese Garden in Little Tokyo.
(Jason Armond/Los Angeles Times)
Malia Mendez wrote a great piece about a trio of classic musicals running concurrently in L.A. She takes a closer look at “Flower Drum Song,” adapted for East West Players by David Henry Hwang; “Brigadoon,” adapted for Pasadena Playhouse by Alexandra Silber; and “The Sound of Music” at the Hollywood Pantages. All three were originally written by two of the 20th century’s most dynamic and celebrated writing duos: Rodgers and Hammerstein (“Flower Drum Song” and “The Sound of Music”) and Lerner and Loewe (“Brigadoon”). And all still resonate in modern times.
Mendez also wrote about a special event taking place this weekend called Night at the Library — held as part of the downtown Central Library’s centennial celebration. “The four-hour extravaganza Saturday will feature more than 200 artists and 25 to 30 activations peppered throughout the library campus, plus DJ sets and local food truck fare. Highlighted performers include Bob Baker Marionette Theater and Los Angeles Master Chorale,” Mendez writes.
Doug Chiang, Podrace Crash, production art for “Star Wars: Episode I – The Phantom Menace,” 1995-99.
(Lucas Museum of Narrative Art)
The Lucas Museum of Narrative Art unveiled its inaugural exhibitions this week — noting that all 20 were curated by George Lucas himself. The $1-billion museum will open to the public on the first day of fall and the exhibits will be shown in more than 30 galleries spread over 100,000 square feet of exhibition space. And, yes, “Star Wars” memorabilia will be part of the “cinema” exhibit with large-scale vehicle installations, production designs, props and costumes.
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Lincoln Clauss, center, as the Emcee in Asolo Repertory Theatre’s “Cabaret,” at the Old Globe.
(Courtesy of Cliff Roles)
The board of directors of San Diego’s Old Globe named Trish Santini as the theater’s new managing director. Santini joins Artistic Director Barry Edelstein as a co-chief executive, and enters her new role on July 1. Among other arts leadership posts, Santini was the inaugural executive director of Little Island in New York City, and led the launch of the $250-million public park and performance venue.
It will be more than a “Star Wars” bonanza when the Lucas Museum of Narrative Art opens to the public Sept. 22. The highly anticipated $1-billion museum on Thursday announced about 20 inaugural exhibitions curated by George Lucas across more than 30 galleries — and only one is related to cinema, with a focus on “Star Wars” memorabilia, including large-scale vehicle installations, production designs, props and costumes.
The full scope of the 1,200-plus objects will only be revealed when guests step through the museum doors into more than 100,000 square feet of gallery space on the first day of fall.
The futuristic-looking 300,000-square-foot museum in L.A.’s Exposition Park was designed by Ma Yansong of Mad Architects with executive architect Stantec and includes 11 acres of park space that extend to the museum’s roof, designed by Mia Lehrer of Studio-MLA. Co-founded by Lucas and his wife, Mellody Hobson, the museum will rotate the famous filmmaker’s vast collection of narrative art, which contains objects not found in more traditional museums, including manga, comics and children’s tales. The idea is to present the myriad ways images are used to tell an endless variety of stories. Lucas has called his collection “the people’s art.”
Dorothea Lange, “Migrant Mother,” Nipomo, Calif., 1936. Gelatin silver print, 18 3/4 x 14 1/2 in.
(Lucas Museum of Narrative Art, PKY.1062)
Exhibitions currently on deck include a variety of themed shows such as one on the architecture of the building; one titled “Everyday Life,” dedicated to visual stories about “childhood, community, family, love, motherhood, play, school, sports and work”; another titled “Civic Life” featuring “artists’ portrayals of experience in the courthouse, the polling place, the political headquarters”; an exhibit titled “Narrative Forms” highlighting “narrative art across genres of adventure, fantasy, romance and science fiction” by artists including Julie Bell, Boris Vallejo, Ken Kelly, Georges Méliès, John C. Berkey and Jeffrey Catherine Jones; and children’s literature illustrations by Beatrix Potter, Leo Politi, E.H. Shepard and Jacob Lawrence.
George Hughes, “Home at Last,” cover for the Saturday Evening Post, Sept. 1, 1951. Oil on board, 30 x 24 in.
There will also be exhibitions devoted to the work of individual artists and genres such as comics and graphic stories from illustrators Mœbius, Marie Severin, Jack Kirby, Alison Bechdel, Jim Lee, Frank Miller and Rafael Navarro; illustrations and book covers by Frank Frazetta; the work of fairy tale and children’s illustrator Jessie Willcox Smith; the lush art of Maxfield Parrish; a selection of work by iconic American artist Norman Rockwell; selected works of Thomas Hart Benton; and early 20th century book illustrations by N.C. Wyeth.
A news release about the inaugural exhibitions noted that they are drawn from the museum’s founding collection of more than 40,000 works.
“The exhibitions trace the evolution of human culture through storytelling, from ancient sculptures of gods and goddesses to Renaissance paintings to photographs, comics and modern cinema,” the release says. “Many exhibitions are organized by theme, focusing on myths about love, family, community and adventure that connect every generation. These shared stories, told over and over in many forms, bind us together and define our human experience.”
Ernie Barnes, “The Critic’s Corner,” 2007. Acrylic on canvas, 23 1/2 x 35 3/8 in.
Lucas’ role at his namesake museum has also not always been clear, and the museum’s development has been marked by a series of high-profile staff shakeups. The museum’s original director and chief executive, Sandra Jackson-Dumont, stepped down from her role in early 2025 after less than five years. She didn’t speak publicly about her departure but the museum issued a statement that her decision was based on a “new organizational design” that would split her job into two positions, with Lucas responsible for content direction.
Three months later, the museum laid off 15 full-time employees, a number of whom were from the education and public programming team. Seven part-time, on-call employees were also eliminated. The layoffs were described to The Times in harrowing terms by two employees who asked to remain anonymous.
In December — soon after the museum announced its opening date — news broke that chief curator Pilar Tompkins Rivas had stepped down from her role.
To date, no new chief curator has been named, but a rep for the museum wrote in an email that Lucas “is responsible for curatorial and content direction for the museum and continues to work closely with the curatorial team on his decades-long vision to celebrate storytelling and narrative art.”
OMAHA, Neb. — Nebraska on Friday will become the first state to enforce work, volunteer or education requirements for new Medicaid applicants, eight months before the federally mandated requirements kick in.
Advocates worry that the state is launching so rapidly that key details remain unresolved and some people who are eligible for coverage will lose it.
State officials say they’re prepared, training staff and sending letters, emails and texts to people who could be impacted.
Health policy experts, advocates and other states will be watching closely.
“It can be used as a lesson for other states, both where things go well and where things don’t go well,” said Jennifer Tolbert, deputy director of KFF’s Program on Medicaid and the Uninsured.
The law is expected to leave some without insurance
The work requirement is part of a broad tax and policy law that President Trump signed last year. Nebraska Republican Gov. Jim Pillen announced in December that the state would implement it eight months before it was required, saying the aim was “making sure we get every able-bodied Nebraskan to be a part of our community.”
The state had one of the lowest unemployment rates in the U.S. in February: 3.1%.
The federal policy won’t apply to all Medicaid beneficiaries, just those who are enrolled under an expansion that most states chose to make to allow more low-income people to get healthcare coverage.
Under the change, many Medicaid participants ages 19 through 64 will have to show that they work or do community service at least 80 hours a month, or are enrolled in school at least half-time. They’ll also have their eligibility reviewed every six months rather than annually, so they could lose coverage faster if their circumstances change.
Exceptions will be made for people who are too medically frail to work or in addiction treatment programs, among others.
An Urban Institute report from March estimated that the changes would mean about 5 million to 10 million fewer people nationally would be enrolled in Medicaid than would have been otherwise.
Choices states make about how to run their programs are expected to be a major factor in exactly how many people lose coverage.
“The higher the administrative burden, the more likely people are found noncompliant and disenrolled,” said Michael Karpman, who researches health policy at Urban.
Nebraska plans to use data to help determine who qualifies
Not everyone who has coverage will need to submit proof that they’re working.
The state says it will first match enrollees with other data it has to see if participants are working or exempt. The state says it has that information for most of the roughly 70,000 people enrolled in Medicaid through the expansion.
That leaves between 20,000 and 28,000 who would have to provide more information, plus an average of 3,000 to 4,000 new enrollees each month.
At first, they will just need to show that they met the requirements in just one month of the previous 12. The time frame will shift to six months in 2027.
There’s some flexibility. For instance, instead of showing they work 80 hours in a month, someone could instead provide records that demonstrate they earned at least $580, the amount someone earning minimum wage would make in 80 hours.
People who don’t submit requested information within 30 days of being asked could have their applications denied or lose coverage they already have.
The change is causing worry and confusion
Bridgette Annable, who lives in southwest Nebraska, received a letter saying she must meet the work requirements or lose the benefits that pay for her insulin and diabetic supplies.
The 21-year-old mother now has a part-time job, despite being advised against it to protect her mental health. She’s worried about her ability to keep working.
“I am working 30 to 25 hours a week — as much as my employer can provide,” Annable said. “Although I call out of work often due to fibromyalgia pain and bipolar episodes that leave me too tired to leave the house. I have enough energy to take care of my daughter and do some cleaning, but that’s about it.”
Amy Behnke, the chief executive officer of the Health Center Association of Nebraska, said that staff members who help people enroll with Medicaid and their clients have a lot of questions, including some that the state hasn’t yet answered.
Some examples: Apprenticeship programs are supposed to count for work requirements, but does that apply only to those certified by the state’s labor department? There’s an exemption for people who travel to a hospital for care, but there’s not clarity on how far the journey must be.
KFF’s Tolbert noted that the state issued its 295-page list last week of conditions that could qualify someone as medically frail. “We don’t know if it’s a comprehensive list,” she said.
“The speed at which we are choosing to implement work requirements hasn’t left a lot of space for really meaningful communication,” Behnke said.
And Nebraska could have to make changes after the federal government provides guidance that is expected in June.
Mulvihill and Beck write for the Associated Press. Mulvihill reported from Haddonfield, N.J.
Megan Thee Stallion’s Broadway run playing Zidler in “Moulin Rouge! The Musical” is ending weeks earlier than planned, and days after she announced a messy split from NBA star Klay Thompson.
The “Wanna Be” hitmaker is pulling out of her first Broadway run weeks sooner than anticipated. Megan announced the news on Instagram alongside a bandaged heart emoji and said she would step away from the production Friday rather than the originally slated May 17.
“Hotties, my last performance as Zidler in @moulinrougebway will be May 1,” she wrote. “It’s been such an honor to be part of thee Moulin Rouge family and I’ve met so many amazing people in this theater!
“Y’all work so hard and I have so much respect for the dedication, the stamina, the work ethic, the time and the effort y’all put into the work! I’m so grateful for the cast and crew that made this experience so meaningful. And to all the Hotties that showed up or planned to attend, thank you for supporting me during this incredible journey! I LOVE YALL . . . See you soon.”
The Grammy Award-winning rapper made history as the show’s first woman to portray the charismatic cabaret manager Zidler — the character’s full name is Harold Zidler. Broadway veteran Eric Anderson will step back into the role on May 19, but the actor who will cover the interim, from May 2 through 17, hasn’t been announced.
The wildly popular “Moulin Rouge! The Musical” was recently extended on Broadway, with its final performance set for Aug. 30 after a seven-year run.
Although Megan didn’t offer a reason for her departure, the move comes amid a recent health scare and some personal upheaval for the “Hot Girl Summer” chart topper.
On Saturday, the “Savage” rapper aired some dirty laundry on social media, writing in a since-expired Instagram story that her recent beau, Dallas Mavericks shooting guard Klay Thompson, didn’t know if he could be monogamous and had treated her horribly during their time together. “I need a REAL break after this one,” she wrote.
She followed the social media admission with a formal statement issued to People confirming that she and Thompson had split just months after they took their relationship public.
“I’ve made the decision to end my relationship with Klay,” Megan said in a statement. “Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward. I’m taking this time to prioritize myself and move ahead with peace and clarity.”
Writing obituaries is a sacred, tricky task. Major news organizations compose advance obits on major figures, a just-in-case endeavor that feels both hugely important and somewhat macabre.
Several years ago, it fell to me to compose an advance death notice for the legendary conductor Michael Tilson Thomas, who was confronting a terminal brain cancer diagnosis by doubling down on his performance schedule and delivering — by all accounts — spectacular performances.
The piece lay blessedly dormant for longer than anyone thought possible as Tilson Thomas persevered in the face of his illness — an inspiration to all who knew and loved him. And then, yesterday morning, it became necessary to publish. There was a rush to update the writing, to fact-check the timeline, to be sure that all salient points were included. Here was the final story of a remarkable human’s life. The sense of responsibility cannot be overstated.
I was surprised to learn that a former colleague at the paper had also written an advance obit on Tilson Thomas, so my editor worked to meld the two together. The other writer included information that I had missed and vice versa, so in many ways it turned out to be a good thing that we had mistakenly doubled up on the weighty task.
One detail that the other writer included that was formerly unknown to me: A Times story from 1985 reported Tilson Thomas walking off the stage at the Hollywood Bowl nearly 15 minutes into the hourlong second movement of Part II of Gustav Mahler’s Symphony No. 8. Tilson Thomas did this, according to the archived news clip, because a noisy police helicopter simply would not go away.
A reader wrote in after the obituary went live to say that he had been there when it happened, and offered up this fresh insight:
“I was at the concert. The helicopter was hovering long, low and loud(!) with a bright searchlight scanning the trees behind the shell. It was an impossible situation which [Tilson Thomas] handled with quiet dignity. And when he returned to the stage he opted to re-start the Second Movement of Mahler VIII from the top! It was a long and memorable night at the Bowl.”
Our obituary described Tilson Thomas as storming off the stage. Not so, said the reader.
“More determination than storm,” he wrote.
And suddenly I could picture it, that moment from more than 40 years ago, with Tilson Thomas displaying the singular determination and love for his craft that would sustain him much later in life when he faced down death with the same quiet grace, the same unwavering resolve. And the music … I can hear it over the chop-chop-chop of the helicopter, until Tilson Thomas is all that remains.
I’m Arts editor Jessica Gelt feeling grateful for stories past. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Craft Contemporary hosts CLAY LA this weekend.
(Allen J. Schaben/Los Angeles Times)
CLAY LA Emerging and established ceramic artists gather their wares for Craft Contemporary’s ninth annual fundraiser, a vibrant marketplace with complimentary refreshments, music and hands-on air-dry clay activities. Fun fact: The museum was founded by Edith R. Wyle, grandmother of “The Pitt’s” Noah Wyle. Market Preview Night, 6-9 p.m. Friday, $20 general admission, $15 members; weekend market, 11 a.m.-5 p.m. Saturday (free with $9 museum admission) and Sunday (pay-what-you-wish admission); regular museum hours, 11 a.m.-5 p.m. Wednesday-Sunday; noon-8 p.m., the first Thursday of the month. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org
Music director James Conlon of at L.A. Opera will conduct his farewell concert Friday at the Dorothy Chandler Pavilion.
(Ariana Drehsler/For The Times)
James Conlon Farewell Concert The maestro, who is stepping down after 20 years as LA Opera’s music director, leads the organization’s full orchestra and chorus for an evening of Mozart, Verdi and Wagner as his grand finale. The event is followed by a celebratory gala on the stage of the Dorothy Chandler Pavilion. 7 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
SATURDAY John Adams & Conrad Tao The LA Phil’s John and Samantha Williams Creative Chair conducts the orchestra in a program that includes Piazzolla’s “Two Tangos,” Stravinsky’s “Song of the Nightingale” and Prokofiev’s “Lieutenant Kijé Suite,” plus pianist Conrad Tao performing Adams’ composition “Century Rolls,” inspired by 1920s self-playing pianos. 8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Brewery Artwalk & Open Studios This free semi-annual event at the former Pabst Blue Ribbon Brewery north of downtown features more than 100 artists sharing, discussing and (ideally) selling their work in the very spaces that much of it is created. 11 a.m.-6 p.m Saturday and Sunday. Brewery Arts Complex, 2100 N. Main St., L.A. breweryartwalk.com
Jerrika Hinton and Bradley Gibson in “Fremont Ave.” runs April 25-May 23 at South Coast Repertory.
(Marc J. Franklin)
Fremont Ave. The world premiere of Reggie D. White’s multi-generational drama about three Black men in L.A. and the woman who is the glue in their lives. Directed by Lili-Anne Brown. Part of the Pacific Playwrights Festival. Previews, 8 p.m. Saturday; 7 p.m. Sunday and Tuesday-Thursday; opening night, May 1; regular performances, May 2-23. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org
The Liminary It’s 2042 in Last Call Theatre’s latest immersive experience and the U.S. is run by a nationalistic, isolationist government. Do you dare join the resistance? With interactive exhibits on immigration, community and hope, plus multiple endings and narratives inspired by the saga of immigrants. 8 p.m Saturday; 8 p.m. May 1-2, May 7-9 and May 14-16. 1919 3rd Ave. L.A. lastcalltheatre.com
Liz Larner, “smile (abiding),” 1996-2005; Rachel Harrison, “The Prepper,” 2024; and Rebecca Morris, “Untitled (#15-25), 2025” from the exhibition “planchette” at Regen Projects.
(Regen Projects)
planchette A group exhibition featuring contemporary abstract sculptures and paintings by influential artists Rachel Harrison, Liz Larner and Rebecca Morris. Opening reception, 6-8 p.m.; exhibit runs through May 23. Regen Projects, 6750 Santa Monica Blvd. L.A. regenprojects.com
SUNDAY Gabriel Kahane & Roomful of Teeth The eclectic singer-songwriter-composer teams up with the multi-Grammy-winning vocal group to perform music from their recently-released collaborative album, “Elevator Songs.” 7 p.m. Sid The Cat Auditorium, 1022 El Centro St., South Pasadena. sidthecat.com
WEDNESDAY
The Australian Chamber Orchestra comes to the Segerstrom Center for the Arts on Wednesday, April 29.
(Nic Walker)
Australian Chamber Orchestra The ensemble from down under performs Purcell’s “Fantasia on One Note,” Handel’s “Concerto Grosso in A Major, Op. 6 No. 11,” a new work by John Luther Adams titled “Horizon,” Vaughan Williams’ “The Lark Ascending” (arranged by Adam Johnson), and Schubert’s ”Death and the Maiden” in the candlelit intimacy of the Samueli Theater. 7 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
Jason Delane, left. and Chuma Gault in “Hymn” at the Odyssey Theatre.
(Cooper Bates)
Hymn In this drama by British playwright Lolita Chakrabarti, best known for her stage adaptations of the novels “Life of Pi” and “Hamnet,” two Black men meet at a funeral and discover a life-changing connection. Gregg T. Daniel directs this co-production between the Odyssey Theatre and the Lower Depth Theatre. Previews 8, p.m. Wednesday, Thursday and May 1; 8 p.m. Fridays and Saturdays (an Wednesday, May 27); 3 p.m. Sundays (except May 31), through June 14. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
THURSDAY
Los Angeles Ballet presents “Giselle” with Kate Inoue at the Ahmanson Theatre, April 30-May 3.
(Alex Lopez)
‘Giselle’ The Los Angeles Ballet’s staging of this classic supernatural romance features the original 1841 choreography by Jean Coralli and Jules Perrot (updated by Marius Petipa) and score by composer Adolphe Adam. 7:30 p.m. Thursday-May 2 and 2 p.m. May 3. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. losangelesballet.org
The 1967 romantic comedy “Barefoot in the Park,” starring Jane Fonda and Robert Redford, opens the TCM Classic Film Festival on Thursday.
(Paramount Pictures)
TCM Classic Film Festival Hollywood Boulevard comes alive with four days of movie magic beginning with the opening night presentation of the 1967 romantic comedy “Barefoot in the Park,” starring Robert Redford and Jane Fonda. Other screenings include “Alice In Wonderland” (1951), “A Place In The Sun” (1951), “Gaslight” (1944), “Out Of The Past (1947) , “Modern Times” (1936), “The Day The Earth Stood Still (1951) and “The Magnificent Seven” (1960), with appearances by Fonda, Barbara Hershey, Carol Burnett, John Turturro and many more. Thursday-May 3. TCL Chinese Theatre IMAX, 6925 Hollywood Blvd.; Hollywood Roosevelt Hotel; TCL Chinese 6 Theatres multiplex, 6801 Hollywood Blvd.; El Capitan Theatre, 6838 Hollywood Blvd.; Egyptian Theatre, 6712 Hollywood Blvd. filmfestival.tcm.com
Arts anywhere
New and recent releases of arts-related media.
French Violinist Renaud Capucon, seen performing during the 2024 Paris Olympics, has a new live album featuring the works of composer Ernest Chausson.
(Kristy Sparow / Getty Images)
Chausson This concert album pairs two pieces by French Romantic composer Ernest Chausson: “Concerto for Violin, Piano and String Quartet, Op. 21.,” performed by violinist Renaud Capuçon, the late pianist Nicholas Angelich and the Ébène Quartet, and “Poème” for violin and orchestra, featuring Capuçon and the Brussels Philharmonic led by conductor Stéphane Denève. The show was recorded live in 2020. Warner Classics/Erato: Digital ($10) and CD ($17).
The City Unseen Emmy-winning producer-director Daniel Sackheim, whose credits include “Law & Order,” “The X-Files” and “The Americans,” is also a serious photographer. His new book of black-and-white images casts Los Angeles as the protagonist in a noir landscape of nocturnal beauty where its darkest secrets lurk in the deepest shadows. Hat & Beard Press: 108 pages, $60.
International Jazz Day The 15th annual event is Thursday in Chicago, but you can celebrate early with PBS’ broadcast of last year’s International Jazz Day All-Star Concert from Abu Dabai. Hosted by Jeremy Irons, the lineup includes Herbie Hancock, Dee Dee Bridgewater, Kurt Elling, Jose James, John McLaughlin, Helene Mercier, Danilo Perez, Arturo Sandoval and more. 10 p.m. Friday. PBS SoCal and streaming at pbssocal.org
— Kevin Crust
Culture news and the SoCal scene
Attendees walk around the Los Angeles County Museum of Art’s new David Geffen Galleries in Los Angeles on Sunday, April 19, 2025.
(Ariana Drehsler/For The Times)
The Los Angeles County Museum of Art news did not stop last week as it threw a glitzy opening gala for the new David Geffen Galleries, and — a few days later — welcomed members for previews prior to opening its doors to the general public on May 4. I attended the gala and checked in with a number of wonderful artists, including Mark Bradford, Ed Ruscha and Jeff Koons, about their thoughts on the new building. Then, on Sunday, we sent a team to get member reactions to the new space. Later in the week we published critic Leah Ollman’s review of the inaugural installation. Spoiler alert: Nope, not gonna give you one. You’ll have to read it.
We also ran a lovely profile by contributor Tara Anne Dalbow about Eileen Harris Norton whose jaw-dropping art collection is currently on display at Hauser & Wirth in downtown L.A. “Few people have done more to shape Los Angeles’ art scene than Eileen Harris Norton,” writes Dalbow. “The third-generation Californian, born and raised near Watts Towers in South Los Angeles, bought her first artwork at the Baldwin Hills Crenshaw Plaza, co-founded Art + Practice in Leimert Park, and has spent 50 years collecting artists who were, in many cases, her friends and neighbors.”
Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
Times theater critic Charles McNulty was — as always — incredibly busy, publishing two reviews and a feature in the past week. First up, his take on “For Want of a Horse” by Olivia Dufault, currently receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre. “The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference,” McNulty writes. Curious? Read on.
McNulty also delivered a thoughtful profile Nicholas Christopher, who he dined with on a recent trip to New York. “A new Broadway star emerges each season, and this year the spotlight has alighted on Nicholas Christopher, who has been dazzling audiences and insiders alike as part of the awe-inspiring triumvirate powering the thrilling new revival of the musical ‘Chess,’” McNulty writes.
Finally, McNulty reviewed “Eat Me,” by Talene Monahon, having its world premiere at South Coast Repertory. A fan of Monahon‘s previous work, McNulty was not as impressed at he would have liked. The play, he writes, “is a relentlessly quirky work that gorges on its own dark whimsy.”
In other news, I got the scoop that new media artist Refik Anadol’s museum of AI arts, Dataland has set its opening date for June 20.
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Elinor Gunn in “Joan” at South Coast Repertory. SCR has announced its 2026-27 season.
(Scott Smeltzer)
South Coast Repertory announced an expanded 2026-27 season, featuring nine productions, including “Hamlet,” starring Raymond Lee; Stephen Sondheim and James Lapine’s “Into the Woods;” Lauren Yee’s “Mother Russia;” and Oscar Wilde’s classic, “The Importance of Being Earnest.” “The 2026-27 season reflects programming changes established in SCR’s recently adopted strategic plan, which includes more classics, modern masterpieces and the continuation of an annual musical on the Segerstrom Stage,” a news release notes.
An infographic illustrates declining employment rates and rising crime involvement among South Korean youth, highlighting how economic hardship and online platforms are fueling participation in high-profit illegal activities disguised as part-time jobs. Graphic by Asia Today and translated by UPI
April 23 (Asia Today) — Economic hardship among young people in South Korea is reshaping crime patterns, with more youths turning to high-profit illegal activities disguised as part-time jobs, experts warn.
The shift marks a departure from traditional survival-driven crimes such as theft toward organized fraud, digital financial crime and so-called “crime-for-hire” schemes promising quick cash.
Economists have long noted the link between opportunity and crime. Gary Becker argued that individuals weigh expected criminal gains against legal income opportunities when deciding whether to commit offenses.
Recent data suggest that calculation is changing for young Koreans.
According to government employment data, the youth employment rate for those ages 15 to 29 fell to 43.6% in March, well below the overall rate of 69.7%. Youth employment declined for 41 consecutive months, with 147,000 fewer young workers compared with a year earlier.
In contrast, employment among older age groups increased, deepening what analysts describe as a “K-shaped” divide in the labor market.
At the same time, youth crime is rising. Prosecutors’ data show the number of young offenders per 100,000 people increased from 3,130 in 2021 to 3,363 in 2024. Fraud is particularly prevalent, with people in their 20s accounting for 23.7% of cases – the highest share among all age groups.
Researchers say unemployment and crime are closely linked. A 2023 study found that a 1 percentage point increase in unemployment leads to a 1.5% rise in theft-related crime.
Experts argue the issue is not just an increase in crime, but a structural shift.
“Young people are no longer committing crimes out of necessity alone, but increasingly pursuing one-time, high-reward opportunities,” one analyst said.
The appeal is stark. While unstable jobs may pay about 2 million won (about $1,480) a month, illegal activities can promise hourly earnings exceeding 500,000 won (about $370), widening the perceived gap between legal and illegal income.
Underlying the trend is growing relative poverty – a sense of falling behind others despite overall economic development. Rising real estate and financial asset values have deepened wealth disparities, reinforcing frustration among young people who see limited chances for upward mobility.
Some openly acknowledge the temptation.
“Sometimes it feels better to go to prison than live in this kind of hardship,” a 27-year-old job seeker said. “I know it’s wrong, but it’s hard just to get by.”
Digital platforms are accelerating the problem.
Recruitment for illegal work now spreads through social media and messaging apps, lowering barriers to entry. Schemes such as “yamibaito,” which advertise high-paying short-term jobs, often involve tasks like money transfers, account lending or acting as intermediaries in voice phishing scams.
Many participants are first-time offenders in their early 20s.
Authorities say similar “crime outsourcing” operations are increasingly coordinated through encrypted platforms such as Telegram, making them difficult to trace due to their decentralized structure.
Young people’s familiarity with online tools, cryptocurrencies and non-face-to-face transactions makes them especially suited to the technical roles required in such operations, further concentrating recruitment within the demographic.
Experts caution that the consequences can be lasting.
“Some young people treat these illegal jobs as simple labor and underestimate the risks,” said criminal profiler Bae Sang-hoon. “Even minor involvement can lead to a criminal record that affects the rest of their lives.”
Analysts stress that the problem cannot be addressed through policing alone.
“Poverty is the mother of crime,” said Kim Yoon-tae, a professor of public sociology at Korea University. “We need to examine structural factors such as employment, education and housing, rather than framing this purely as an issue of personal responsibility.”
He added that stable jobs, fair access to education and stronger housing support are essential to reducing the appeal of illegal income opportunities.
Without such changes, experts warn, more young people could be drawn into a cycle where economic hardship leads to crime – and a criminal record further limits future opportunities.
