The White House on Thursday issued a press release titled, “President Trump Is Right About the Smithsonian.” The missive arrived in inboxes the day after Trump took to Truth Social to lash out at museums across the country — and the Smithsonian Institute in particular — for being too “woke.”

The president vowed to have his attorneys deal with the Smithsonian in the same punitive and litigious way it has handled colleges and universities that don’t hew to MAGA ideals, and a rep for the White House said that Trump would start with the Smithsonian, “and then go from there.”

The idea that Trump might find some surprising legal loophole to pressure or punish museums that don’t share his appetite for revisionist history, is chilling to many critics, including the the American Alliance of Museums, which recently issued a statement warning of “growing threats of censorship against U.S. museums.”

Trump’s beef with the Smithsonian and affiliated museums is centered on his assertion that its exhibits focus on “how horrible our Country is, how bad Slavery was, and how unaccomplished the downtrodden have been — Nothing about Success, nothing about Brightness, nothing about the Future.”

The follow-up press release cataloged 22 examples of how the Smithsonian allegedly “prioritizes exhibits that undermine our values and rewrite the American story through a lens of grievance and exclusion.”

But the examples given are all about inclusion — the inclusion of voices that have often been left out of a mainstream dialogue about our nation’s history. Rather than seeming radical, the list appears straightforward and kind.

“The National Museum of the American Latino features programming highlighting ‘animated Latinos and Latinas with disabilities’ — with content from ‘a disabled, plus-sized actress’ and an ‘ambulatory wheelchair user’ who ‘educates on their identity being Latinx, LGBTQ+, and disabled,’ reads one entry.

Then there are the entries that simply rankle Trump based on his own politics of grievance.

“The National Portrait Gallery commissioned a ‘stop-motion drawing animation’ that ‘examines the career’ of Anthony Fauci,” reads another.

There are also bald attempts to censor free artistic expression based on its subject matter: “An American History Museum exhibit features a depiction of the Statue of Liberty ‘holding a tomato in her right hand instead of a torch, and a basket of tomatoes in her left hand instead of a tablet’”; and “The National Portrait Gallery was set to feature a ‘painting depicting a transgender Statue of Liberty’ before the artist withdrew it.”

A desire to exclude is apparent, as in this entry: “The American History Museum prominently displays the ‘Intersex-Inclusive Progress Pride flag’ at its entrance, which was also flown alongside the American flag at multiple Smithsonian campuses.”

You can take a look at the full list here. Trump must find something inherently threatening in each example, which can and should be filed under the absurd.

I’m arts and culture writer Jessica Gelt, holding a drawing of Fauci in my right hand and a Pride flag in the other. Here’s your weekly arts news roundup.

The week ahead: A curated calendar

FRIDAY

Tom Wilkinson, left, and George Clooney in the Oscar-winning 2007 drama “Michael Clayton,” screening Monday at the Aero Theatre in Santa Monica.

(Myles Aronowitz / Warner Bros. Pictures)

Friends of the Fest
The American Cinematheque’s third Podcast Film Festival pairs local podcasters with memorable movies, including “Michael Clayton,” “Mississippi Masala,” “Mahogany,” “Carnival of Souls,” “Bottoms” and more.
Through Wednesday. Los Feliz Theatre, 1822 N. Vermont Ave.; Aero Theatre, 1328 Montana Ave. Santa Monica. americancinematheque.com

The Hollywood Bowl’s annual tribute to John Williams returns this weekend.

(Timothy Norris / Los Angeles Philharmonic)

Maestro of the Movies: Celebrating the Music of John Williams
David Newman conducts the L.A. Phil in blockbuster scores from “Jaws,” “Raiders of the Lost Ark,” “E.T. the Extra-Terrestrial,” “Superman” and “Star Wars,” as well as dramatic epics including “Far and Away,” “Memoirs of a Geisha” and more.
8 p.m. Friday and Saturday; 7:30 p.m. Sunday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

‘Protest’
Fountain Theatre hosts Bricolage Production Company’s revival of Václav Havel’s 1978 two-person, one-act drama set in Communist Czechoslovakia. Jeffrey Carpenter directs actors Steven Schub and Robert Anthony Peters in this limited three-performance run.
8 p.m. Friday and Saturday; 7 p.m. Sunday. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com

SATURDAY
Our Lady’s Dowry: Marian Music from Tudor England
Director Bryan Roach and Musica Transalpina demonstrate the evolution of sacred music in England following the Reformation with “Missa O bone Jhesu” by Robert Fayrfax, as well as works by Christopher Tye and William Byrd.
7:30 p.m. Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Carlo Maghirang’s art installation “ANITO” is on display Aug. 23–Sept. 7 at Los Angeles State Historic Park.

(Carlo Maghirang)

Carlo Maghirang: ANITO
The artist explores ancestral veneration through queer self-portraiture and the repetitive making of “taotao” figurines, reimagined as a collection of modular forms in a triptych installation at the River Station Roundhouse turntable. There will also be performances by dancer and choreographer Jobel Medina, Saturday at 1 p.m., and artist, musician and healer Anna Luisa Petrisko, Aug. 30, 1 p.m.
8 a.m. to sunset. Saturday through Sept. 7. Los Angeles State Historic Park, 245 N. Spring St. welcometolace.org

Lula Washington Dance Theatre: 45th Anniversary Celebration
The distinctly L.A. contemporary dance troupe presents two North American premieres: “The Master Plan,” a tribute to the late saxophonist Pharoah Sanders, and Tamica Washington-Miller’s “And We Can Fly,” inspired by an the African American folktale. The evening also includes a revival of Donald McKayle’s “Songs of the Disinherited,” two Martha Graham solos — “Deep Song” and “Satyric Festival Song” —and Talley Beatty’s “Mourner’s Bench.”
8 p.m. Saturday. The Ford, 2580 Cahuenga Blvd. East. theford.com

Youssef Nabil’s ‘I Saved My Belly Dancer’
The artist’s surreal 2015 video short, inspired by his movie-fueled childhood in Cairo, stars Tahar Rahim and Salma Hayek. The exhibition also features related photographs and contemporaneous Egyptian movie posters.
Through Jan. 11. Los Angeles County Museum of Art, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org

SUNDAY

Elizabeth Taylor on the set of the film “Boom,” which screens Sunday as part of a triple bill.

(Express Newspapers / Getty Images)

Summer camp with Elizabeth Taylor
A trio of films starring one of Hollywood’s greatest stars leans into the sometimes garish glamour and kitschy melodrama of “Secret Ceremony,” co-starring Mia Farrow and Robert Mitchum, “Boom!,” with Taylor’s on-again, off-again husband Richard Burton — both 1968 releases directed by Joseph Losey — and Brian G. Hutton’s 1972 marital skirmish, “X, Y & Zee,” featuring Michael Caine and Susannah York.
2:30 Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

TUESDAY
Beethoven Under the Stars
The L.A. Phil, conducted by Giedrė Šlekytė, is joined by Japanese pianist Nobuyuki Tsujii, “Nobu” to his fans, for an evening entirely devoted to the great German composer’s work.
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

WEDNESDAY

Lawrence-Hilton Jacobs, from left, Glynn Turman and Corin Rogers in the 1975 movie “Cooley High,” screening Wednesday at the Academy Museum.

(American International Pictures)

Cooley High
The Academy Museum presents a 35 mm screening of the influential 1975 coming-of-age drama about two best friends in 1964 Chicago with in-person guests director Michael Schultz, actors Lawrence-Hilton Jacobs and Glynn Turman, and filmmaker Ava DuVernay.
7:30 p.m. Wednesday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

THURSDAY

Yo-Yo Ma and Angélique Kidjo perform Thursday at the Hollywood Bowl.

(L.A. Phil)

Sarabande Africaine
Singer-songwriter Angélique Kidjo and cellist Yo-Yo Ma continue their collaborative creative musical conversation exploring the many centuries of interaction between African musical idioms and Western classical music. They’ll be joined by multi-instrumentalist Thierry Vaton, Grammy-winning producer David Donatien and genre-blending musician Sinkane.
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

Culture news

A cast of immigrants and the children of immigrants are set to stage a live reading of the cult comedy “Superbad” on Sunday. Participating actors include comedian Hasan Minhaj, Cobie Smulders, Melissa Fumero and Harvey Guillén. The event is free, and it will be livestreamed on the website for Immigrant Defenders Law Center, a social justice law firm that has been working with Southern California’s Latino residents threatened by ongoing ICE raids. De Los’ Andrea Flores has the full story.

Giovanni Guida and his grattage on canvas, “Apotheosis.”

(Daniela Matarazzo)

The uncle of an Italian artist named Giovanni Guida recently wrote me an email to alert me to the inclusion of his nephew in the Getty Vocabularies’ union list of visual artists. What is notable about Guida, his uncle told me, is that he is one of the youngest painters recognized in the resource for his use of the grattage painting technique pioneered by surrealist artist Max Ernst. Grattage is made by placing a painted canvas over a textured object and rubbing the paint off with often unexpected results. Since grattage has now been in use for about 100 years, today seemed like a nice day to highlight it, and to say congratulations to Guida.

The SoCal scene

The North American tour of “& Juliet” at the Ahmanson.

(Matthew Murphy)

Swedish hitmaker Max Martin showed up at the Ahmanson Theatre Friday for the opening of the jukebox musical “& Juliet,” which features dozens of Martin’s chart-topping collaborations with the likes of Katy Perry, Justin Timberlake and Britney Spears. A few days earlier, I interviewed Martin and the show’s writer, David West Read, who won an Emmy for his work on the comedy “Schitt’s Creek.” The pair happily broke down the genesis of the musical, which was more than a decade in the making. The most important part of development, said Martin, was that the songs not be shoehorned into a subpar plot.

That didn’t happen, writes Times theater critic Charles McNulty in his review. As an example, McNulty cited a song by the Backstreet Boys called “I Want it That Way,” which was “redeployed in a way that has little bearing on the lyrics but somehow feels coherent with the original emotion.” Overall, McNulty concludes that the show, which reimagines what would happen if Juliet decided not to kill herself after she finds Romeo dead, “establishes just the right party atmosphere.”

Gustavo Dudamel is an extremely difficult act to follow, writes Times classical music critic Mark Swed. The beloved Los Angeles Philharmonic conductor was scheduled to perform two weeks at the Hollywood Bowl this summer but had to cancel his second week with the Simón Bolívar Symphony Orchestra due to the Trump administration’s new travel restrictions. The orchestra filled the second week with “two talented conductors who were Dudamel fellows and are now enjoying prospering careers, Elim Chan and Gemma New,” writes Swed in a review that examines the high and low points of the substitutions. “These concerts give hope and reaffirm that life goes on. All acts, no matter the challenge, must be followed,” Swed writes.

Tami Outterbridge, daughter of artist John Outterbridge, takes a break from sifting through the ashes of her father’s home in Altadena.

(Robert Gauthier / Los Angeles Times)

Writer Lynell George pens a thoughtful first-person piece about her experiences with the circle of artists in the orbit of famed artist John Outterbridge in Southern California’s Black Arts Movement. Outterbridge died in 2020, and his home and studio in Altadena were both destroyed in January’s devastating Eaton fire. His daughter Tami soon developed a plan to gather friends to sift through the ashes in search of art — metal, shards of ceramics and glass, the same kinds of materials Outterbridge used in his own potent assemblages.

Exterior of the Eames House, Case Study House #8, in a eucalyptus grove.

(Buyenlarge / Getty Images)

The Eames House reopened late last month after a five-month closure necessitated by smoke damage from January’s Palisades fire. Now that the property has been cleaned and restored, the Eames family has unveiled its adjacent creative studio to the public — making it a space for exhibitions, lectures, podcasts and more. It also launched a new and expanded Charles & Ray Eames Foundation with the goal of building on the Eames design legacy globally. In addition, admission will now be free to first responders as well as residents of the Pacific Palisades and Altadena.

— Jessica Gelt

And last but not least

The X account for Gov. Gavin Newsom’s press office has gone full Trump parody with often hilarious results.