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California Atty. Gen. Rob Bonta said Monday that his office has spent more than $5 million fighting the Trump administration in court over the last six months, but saved the state nearly $170 billion.

“That means that for every one dollar we’ve been given by the legislature and the governor from special session funding to do this work — and we are very grateful for that funding — we’ve returned $33,600 for the state,” Bonta said during an afternoon news conference alongside Gov. Gavin Newsom. “Just to put it in perspective, if you told a Wall Street investor they’d get a $33,000 return on every one dollar invested, they would trip over themselves to get in on that deal.”

Bonta’s calculations are based on a mountain of litigation his office has filed against the administration since President Trump’s inauguration on Jan. 20, including 37 lawsuits — many alongside other liberal-led states — and 47 amicus briefs backing other litigants’ lawsuits against the administration.

The vast majority of the savings Bonta claimed were the result of one particular lawsuit, in which California and other states successfully challenged a Trump administration effort to freeze trillions of dollars in federal funding to the states — including what Bonta said was $168 billion for California alone.

“In his first week in office, President Trump went after a full-third of California’s budget — and we went to court less than 24 hours later and stopped him in his tracks,” Bonta said.

Bonta also cited court orders his office has won protecting $7 billion in transportation funding to maintain roads, highways, bridges and other infrastructure; $939 million in education funding for after-school and summer learning and teacher preparation; $972 million in healthcare funding for identifying, tracking and addressing infectious diseases, ensuring immunizations and modernizing public health infrastructure; and $300 million for electric vehicle charging infrastructure.

The White House did not immediately respond to a request for comment Monday. However, it has previously derided California’s efforts to block Trump’s agenda in the courts. Last month, White House spokeswoman Abigail Jackson told The Times that Newsom was “destroying” the state and that Trump has been trying to “step in and save Californians from Gavin’s incompetence.”

The state legislature during a special session in February allocated Bonta’s office an extra $25 million to staff up and fight Trump in court. As part of that allocation, the legislature required that Bonta provide regular reports on how the money is spent. Bonta and Newsom’s news conference Monday followed the first of those reports being submitted to lawmakers.

Bonta said much of the $5 million his office has spent to date was used to pay for in-house attorneys and paralegals, and that none has been spent on outside counsel. He also said that, given the pace and scope of the work to date, his office will eventually need more funding.

“We’re grateful for the $25 million and the ability to draw down that $5 million so far. We do think we will need more going into the future, and I’m hopeful that through the conversations that we have — talking about what we would use it for, our success so far, what the continuing threats are down the road — that we’ll get to a place that will work for everybody,” Bonta said.

Newsom, citing Bonta’s financially consequential wins in court already, promised he’ll get the funding.

“Let me assure you, he will not be in need of resources to do his job,” Newsom said. “This report only highlights why I feel very confident in his ability to execute and to deliver results for the people of this state.”

Bonta’s report outlined 36 lawsuits his office had brought against the Trump administration through Wednesday. Those lawsuits challenged Trump’s efforts to slash the federal workforce, cut healthcare funding and research, dismantle the Department of Education and reduce education funding. They also challenged Trump administration efforts to end birthright citizenship for the U.S.-born children of undocumented immigrants and restrict voting access in California, among other things.

On Friday Bonta’s office filed its 37th lawsuit, challenging the administration’s efforts to effectively ban gender-affirming care for transgender youth nationwide.

Newsom said Bonta’s work to date shows exactly why it was necessary for him and other California leaders to call a special session and allocate the additional funds. California sued the first Trump administration more than 120 times, and they knew it would need to sue the second Trump administration, too.

“We were mindful that past is prologue,” Newsom said, and the added resources they provided Bonta’s office “have come to bear great fruit.”

Bonta said there is no time to slow down now, as the Trump administration continues to violate the law, and that his team is ready to keep fighting.

“We know that this work is just the beginning,” he said, “but we are not backing down.”

PLAYSTATION Plus fans who want to get their hands on a free Xbox game have only one day left to do so.

The gaming giant is offering three major Xbox games completely free to subscribers of its PS Plus service.

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PlayStation Plus members receive three to four new games each month as part of their subscription and the July offers will soon be expiring.

Gaming Giants

The games up for grabs were RPG Diablo 4, The King of Fighters 15 and Jusant, but will be unavailable from August 5.

PlayStation offered those three games to mark its 15th anniversary last month.

Action/climbing game Jusant depicts a journey to the top of a tall tower.

Players are able to uncover secrets of bygone community and hone their skills, at their own pace.

Also included was The King of Fighters XV, which, as the title suggests, is an instalment in a long-running series.

The game features 39 characters, as well as a new combat system and a variety of battle options.

Rounding out the trio is Diablo IV, an RPG game – where players can tackle a campaign either solo or with friends.

The narrative combines a gripping story with memorable characters for users to meet along the way.

The free games are available forever once claimed, so long as their PlayStation Plus subscription remains active.

More Freebies to Come

The good news for fans is that even more games will be up for grabs from August 5.

The games for PS4 are DayZ and My Hero One’s Justice 2, and Lies of P will be free for those who have a PS4 or PS5.

Lies of P is an action role-playing game, which reimagines The Adventures of Pinocchio – an 1883 children’s fantasy novel by Italian author Carlo Collodi.

The game follows the life of a puppet in a fictional city plagued by an epidemic and a puppet uprising.

My Hero One’s Justice 2 is a fast-paced 3D arena fighter based on the hit anime My Hero Academia, featuring intense battles where gamers control their heroes and villains with special moves.

DayZ is a survival game where up to 60 players fight to survive in a zombie-infested wasteland.

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Famed Tejano singer-songwriter and master accordionist Leonardo “Flaco” Jiménez has died. He was 86.

Jiménez’s family shared the news of the musician’s death on his official Facebook page Thursday night. A cause of death was not disclosed.

“It is with great sadness that we share tonight the loss of our father, Flaco Jiménez. He was surrounded by his loved ones and will be missed immensely,” his family wrote. “Thank you to all of his fans and friends — those who cherished his music. And a big thank you for all of the memories. His legacy will live on through his music and all of his fans. The family requests privacy during this time of sadness and grievance.”

Over his more than seven decades in the music industry, the San Antonio native garnered six Grammy Awards, received a National Medal of Arts from President Biden and established himself as a pioneering accordion virtuoso who helped nationalize the popularity of Tejano and conjunto music in the U.S.

Jiménez is perhaps best known for his work with the Tejano music supergroup Texas Tornados, which included the talents of Freddy Fender, Doug Sahm and Augie Meyers. Texas Tornados won the Mexican/Mexican-American Performance Grammy in 1990 for their song “Soy de San Luis.” The band’s Spanglish style is on full display in their most popular track “(Hey Baby) Que Pasó?”

In 2022, the Congressional Hispanic Caucus, led by Texas Rep. Joaquin Castro, included the 1989 hit in its list of nominees to Library of Congress’ National Recording Registry, in an effort to increase Latino representation in the U.S.

Castro, a San Antonio native, shared a statement on Facebook regarding Jiménez’s death.

“I am saddened by the passing of San Antonio music legend Leonardo ‘Flaco’ Jiménez,” he wrote. “He was a pioneer in conjunto music — receiving a Lifetime Achievement Grammy, National Medal of Arts, and a place in the National Recording Registry for his work. Texas is proud of his legacy. May he rest in peace.”

Jiménez’s 1992 album, “Partners,” was inducted into the National Recording Registry in 2020.

“People used to regard my music as cantina music, just no respect,” Jiménez told the Library of Congress. “The accordion was considered something like a party joke … I really give respect to everyone who helped me out on this record, and I’m flattered by this recognition.”

His skills on the “party joke” of an instrument were so well recognized that the famed German musical instrument manufacturer Hohner collaborated with Jiménez in 2009 to create a signature line of accordions.

“The music world has lost a true legend. Flaco Jimenez was a global ambassador for Tex-Mex Conjunto music, bringing its vibrant sound to audiences around the world,” Hohner wrote in a social media post following Jiménez’s death. “His passion and virtuosity on the three-row button accordion inspired generations of musicians across cultures and continents. Since 1976, Flaco was a proud partner of Hohner, a relationship built on mutual respect and a shared love for music. It was an incredible honor to work alongside such a talented, humble, and gracious artist.”

Jiménez was born on March 11, 1939, in San Antonio to a family with a storied musical background. He first began performing at age 7 with his father, Santiago Jiménez, who himself was a pioneering figure in the conjunto movement. At 15, Flaco appeared in his first recording with the musical group Los Caporales.

He went from local fame to modest international recognition on the folk scene when musicologist Chris Strachwitz recorded him for his Arhoolie label, and after being featured in a 1974 Les Blank film on Texas-Mexican border music.

Then in 1976, Ry Cooder tapped him to be a member of his Chicken Skin Revue. Jimenez worked with Cooder on several projects, including the soundtrack to the 1982 film “The Border,” which starred Jack Nicholson.

He won the first of his three Grammy Awards for best Mexican-American performance in 1986 for his album “Ay Te Dejo en San Antonio” and his last in the category in 1999 for his work with the supergroup Los Super Seven. He also won Grammys for his solo albums “Flaco Jiménez” in 1994 and “Said and Done” in 1999, as well as a Grammy Lifetime Achievement Award in 2015.

The list of artists with whom Jiménez collaborated is as long as it is distinguished and includes Bob Dylan, Carlos Santana, Dwight Yoakam and Linda Ronstadt.

Jiménez played the accordion on the Rolling Stones’ “Sweethearts Together,” a Tex-Mex-infused ballad off of their 1994 album, “Voodoo Lounge.”

Jiménez’s success and recognition far surpassed anything he could have imagined for himself, he told The Times in 1994.

“I thought that it was always just going to be a local thing. I’d only hear my dad and other groups in San Antonio, or even here just in the barrio,” he said. “I think that audience started changing when I began to ‘bilingual’ a lot of stuff and started playing rock ‘n’ roll and with a little country to it. Then the reaction of the people, not just the Chicanos but the Anglos, was stronger.”

Speaking with The Times in 1996, Jiménez said he was delighted that crossover with country had helped to bring the distinctive sound of accordion-based Tejano music to a wider audience.

“It’s more respected and more listened to than ever before. I’m satisfied. At the level Tejano or conjunto music is now, we can communicate with the mainstream,” he said.

Reflecting on how far the reach of conjunto had come, Jiménez recalled one of his earliest and most impactful memories introducing the genre across the globe.

“Conjunto or Tex-Mex music was not known at all. We went on tour to Switzerland, and when I got to the concert hall there was just one microphone and one chair. They thought I was going to give a concert with pura acordeon — just the accordion,” he said.

“I said, ‘Hey, where’s the rest of the amps and whatever?’ And they managed to get a drum set so we did our thing. Then the audience noticed, ‘Hey, this is fun!’ And it got really wild. Because when I play, I’m really just having a party with the audience.”

Times staff writer Fidel Martinez contributed to this report.

When looking at a majestic residence like the 1908 Gamble House — a Craftsman crown jewel of Pasadena — its easy to romanticize the lives of its owners. Luxury and wealth radiate from its graceful, low-slung eaves, sloping lawns and wide porches. But the idea of class is baked into its architecture, with a series of rooms built to be occupied by the domestic servants who toiled day and night to keep the house running for its privileged inhabitants, the heirs to the Proctor & Gamble fortune.

Through Aug. 17, those rooms are open for tours with the addition of a compelling art installation by Karen Schwenkmeyer and Lisa Mann titled “Dirty Laundry,” which examines the heartache, disappointments and perseverance of domestic laborers in the early 20th century by printing their words on tea towels and sheets hung in the Gamble House’s drying yard, and stitching them into a pillowcase in one of the small staff bedrooms.

“What I mind is the awful loneliness,” reads the pillowcase on austere wooden twin bed. “Many times, many nights I went to bed and cried myself sick.”

A sculpture constructed of Ivory soap, mops and scrub brushes takes up residence in the staff bathroom. The soap, one of Procter & Gamble’s bestselling products, was marketed as 99.44% pure, and the sculpture is a meditation on “who is pure and who is not,” explained Mann during an opening reception for the installation, adding that she and Schwenkmeyer approached the lavatory as “a place of resistance and empowerment.”

The goal of the installation, say Schwenkmeyer and Mann, was to bring to light the “emotional and psychological toll of being on-call every day of the week.”

A tea towel blowing in the warm Southern California air puts it more plainly: “I hope someday will come when I don’t have to work so hard … I do hate to get up in the morning. I am so tired.”

Artists Karen Schwenkmeyer and Lisa Mann stand with their installation “Dirty Laundry” at the Gamble House in Pasadena.

(Paul Takizawa)

Domestic staff in many of the country’s most rarefied households was made up of immigrants who came to America looking for a better life only to find themselves stuck in the same classist , low-wage systems they had fled in the first place, the artists explan.

“Servants in the United States ‘were haunted by a confused and imperfect phantom of equality,’ which promised perfect parity at one moment but then suddenly shouted a reminder that some people are more equal than others,” reads a bedsheet quoting from a book about Americans and their servants by Daniel E. Sutherland, which greets visitors upon entrance to the yard.

Thinking of these words and imagining the lives of the many men, women and children who devoted their lives to caring for wealthy people is a potent way to walk through the beautiful rooms inside the Gamble House. We may not call domestic laborers servants anymore, but the way we choose to treat those who tend to our many needs — to see them and respect them, or not — speaks volumes of who we are as a society.

I’m arts and culture writer Jessica Gelt, rethinking all my assumptions about a bar of soap. Here’s this weeks art news.

Best bets: On our radar this week

The Broadway cast of the musical comedy “Some Like it Hot” in 2022. The national tour is now playing at the Hollywood Pantages.

(Courtesy of Marc J. Franklin)

Some Like It Hot
This musical adaptation of Billy Wilder’s 1959 film comedy about two musicians who go on the run disguised as women after witnessing a mob hit in prohibition-era Chicago brings a contemporary sensibility to the 1930s shenanigans. The Broadway production won four Tony Awards in 2023.
Through Aug. 17. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com

Keith Carradine and Shelly Duvall in Robert Altman’s “Nashville.”

(Paramount Pictures)

Robert Altman’s America: A Centennial Review
UCLA Film and Television Archive celebrates the late filmmaker’s 100th birthday with a 13-film series that kicks off with 1976’s “Nashville,” which melds politics with country music and features a large ensemble including Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Barbara Harris, Lily Tomlin and dozens more.
7:30 p.m. Friday; series continues through Sept. 26. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu

Musician Adrian Quesada performs a free concert, co-hosted by De Los, on Saturday.

(James Carbone/For De Los)

Adrian Quesada
De Los, The Times’ platform for all things Latinidad, co-hosts a free concert by the Grammy-winning musician and Oscar-nominated songwriter. Best known for his work in the bands Grupo Fantasma and Black Pumas, Quesada’s latest album, “Boleros Psicodélicos II,” is “a 12-track sonic field trip through Quesada’s Latin American influences — and a testament to teamwork,” wrote Carlos De Loera in a recent De Los profile.
6 p.m. Saturday. Grand Performances, 350 S. Grand Ave., downtown L.A. grandperformances.org

The Actors’ Gang’s performance of “Roswell That Ends Well.”

(Bob Turton Photography)

Roswell That Ends Well
The Actors’ Gang turns the Bard on his ear in this year’s Shakespeare in the Park production, an adaptation of “All’s Well That Ends Well” where outer space meets the Wild West in the form of a determined cowgirl with big dreams and a four-armed alien king.
11 a.m. Saturdays and Sundays, through Aug. 24. Admission is free, reservations highly suggested. Media Park, 9070 W. Venice Blvd., Culver City. theactorsgang.com

Chow Yun-Fat in John Woo’s “A Better Tomorrow.”

(Shout! Studios)

Hong Kong Cinema Classics
The American Cinematheque and Beyond Fest, in partnership with Shout! Studios and GKIDS, present a retrospective of seminal films, many of which are rarely screened. Genre master John Woo will appear with his films “Hard Boiled” (7 p.m. Saturday), a triple feature of the “A Better Tomorrow” trilogy (11 a.m. Sunday) and “The Killer” (7 p.m. Sunday). The monthlong series also includes films by stalwart action directors Tsui Hark, Ringo Lam and Ching Siu-tung.
7 p.m. Saturday; 11 a.m. Sunday; 7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

Karl Benjamin, #13, 1970. Oil on canvas, 68” x 68”

(Gerard Vuilleumier)

Complications in Color
A new exhibition marks the 100th birthday of Claremont artist Karl Benjamin (1925-2012), a painter and leader in the 1950s hard-edge abstraction painting movement. In his review of the 2007 survey of the painter’s work, Times art critic Christopher Knight wrote, “Benjamin emerges as a colorist of great wit and inventiveness.” The current exhibition also features the work of fellow abstractionists Florence Arnold, June Harwood, Rachel Lachowicz and Terry O’Shea.
Noon-4 p.m. Thursdays and Saturdays; noon-7 p.m. Fridays; 10 a.m.-4 p.m. Sundays, through Nov. 16. Claremont Lewis Museum of Art, 200 W. First St., Claremont. clmoa.org

Gustavo Dudamel is back at the Hollywood Bowl on Tuesday and Thursday.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel returns
The maestro is back at the Bowl next week and makes the most of it. On Tuesday, he conducts the L.A. Phil as Ravel meets Ellington with a little help from star Korean pianist Seong-Jin Cho. Two nights later, Dudamel’s back leading the orchestra in works by Korngold (Featuring violinist Vilde Frang) and Mahler. Dudamel completes this brief concert run Aug. 8-9, conducting John Williams’ crowd-favorite “Jurassic Park” score over a live screening of the summer blockbuster.
Ellington and Ravel. 8 p.m. Tuesday; Mahler and Korgold, 8 p.m. Thursday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Culture news

Wallis Annenberg, who died Monday at 86, photographed in 2022.

(Mel Melcon/Los Angeles Times)

Philanthropist Wallis Annenberg — whose name became synonymous with arts and culture in Los Angeles — died earlier this week of complications from lung cancer at the age of 86. The wealthy patron was memorialized in tributes for her commitment to making art accessible to people from all walks of life, as well as for her friendship and love of animals. Annenberg was the daughter of publishing magnate Walter Annenberg, who made his fortune, in part, by selling TV Guide, among other publications, to Rupert Murdoch’s News Corp. For the last 16 years of her life, Wallis served as chairwoman of the board, president and chief executive of her family’s Annenberg Foundation.

Only July 23, Congressman Bob Onder introduced the Make Entertainment Great Again Act, which proposed that the John F. Kennedy Center for the Performing Arts be renamed the Donald J. Trump Center for Performing Arts. NPR reported that the bill is likely a long shot.

The SoCal Scene

Adam Lambert performs during a rehearsal of “Jesus Christ Superstar” on July 26 at the Hollywood United Methodist Church in Los Angeles.

(Etienne Laurent / For The Times)

“Jesus Christ Superstar,” starring Cynthia Erivo as Jesus and Adam Lambert as Judas , opens tonight at the Hollywood Bowl for a sold-out, three-night run. I spent last Saturday at a rehearsal dishing with Josh Gad on the sidelines while watching Lambert strut his stuff and tearing up over Phillipa Soo’s performance of “I Don’t Know How to Love Him.” Read my behind-the-scenes story of how the musical came together and why the casting is so important in this era of political turmoil and change. (Gad, who was to play King Herod, had to drop out of the show Wednesday, after contracting COVID.)

The Norton Simon Museum’s Garden Pond.

(Norton Simon Museum)

The Norton Simon Museum in Pasadena is celebrating its 50th anniversary with a variety of special programs and events. In August, the museum is holding a Saturday afternoon film series titled, “Cinematic Touchstones 1975,” which features four movies that made a lasting impact on the culture 50 years ago. The stellar lineup consists of “Mahogany,” “Escape to Witch Mountain,” “Grey Gardens” and “Barry Lyndon.” Admission to the theater is free with general admission to the museum. For schedule and additional details, click here.

The Santa Ynez Chumash Museum and Cultural Center opened in May in the tiny Santa Barbara County town on 3.5 acres of land planted with native blooms, trees, grasses and shrubs. Times staff writer Jeanette Marantos paid a recent visit and reported back on the high-tech interactive displays that bring the past to life and highlight the continuing importance of the tribe and its lasting impact on the area.

The nonprofit organization Tierra Del Sol, which champions professional development through arts education for people with disabilities, will stage its inaugural fashion show in West Hollywood on Sept. 27. The show will showcase hand-crafted designs from eight developmentally disabled artists working out of the organization’s Sunland and Upland studios. After the runway show, the creations will remain at Tierra del Sol’s Gallery, located at 7414 Santa Monica Blvd., for a six-week exhibition, ending Nov. 1.

— Jessica Gelt

And last but not least

There is nothing as soul-soothing as a hot bowl of pho — and that’s pho sure! The Times Food section has created a list of 11 great spots to eat your fill.

The Trump administration has frozen hundreds of science, medical and other federal grants to UCLA worth nearly $200 million, citing the university’s alleged “discrimination” in admissions and failure to “promote a research environment free of antisemitism.”

The decision to pull funding comes after Atty. Gen.Pam Bondi and the Justice Department said this week that UCLA would pay a “heavy price” for acting with “deliberate indifference” to the civil rights of Jewish and Israeli students who complained of antisemitic incidents since the Oct. 7, 2023, Hamas attack on Israel, Israel’s ensuing war in Gaza and campus protests the events spurred last year.

The cancellation of grants is the first large-scale targeted funding claw-back against UCLA under the Trump administration. Until now, the White House has largely focused its attempts to remake higher education on elite East Coast schools such as Columbia, Brown and the University of Pennsylvania. Each has reached deals with the government in recent weeks over issues including admissions, Jewish student life, student discipline, antisemitism training and gender identity in sports.

In a letter to UCLA Chancellor Julio Frenk dated Wednesday, the National Science Foundation wrote that it was terminating grants because “the University of California – Los Angeles continues to engage in race discrimination including in its admissions process, and in other areas of student life.”

An estimated 300 NSF grants totaling $180 million have been canceled. About half of the funds were already distributed. Before the letter was released Thursday, researchers were expecting the other half to follow.

In a letter to the university community Thursday, Frenk wrote that the canceled grants are from NSF, NIH and other federal agencies, but he did not give a dollar amount or list the other agencies. A partial list of terminated grants reviewed by The Times added up to roughly $200 million. The list was provided by a source who was not authorized to share the information.

Frenk called the government’s decision “deeply disappointing” and “a loss for Americans across the nation whose work, health, and future depend on the groundbreaking work we do.”

“In its notice to us, the federal government claims antisemitism and bias as the reasons,” Frenk wrote. “This far-reaching penalty of defunding life-saving research does nothing to address any alleged discrimination.”

Spokespersons for the NSF and NIH did not immediately reply to requests for comment Thursday.

The federal government’s decision to cut UCLA off from significant federal funds follows a similar playbook to its dealings with Ivy League institutions.

The Trump administration this spring canceled billions of dollars in federal grants to Harvard, which has sued in federal court to reverse the terminations and stop a Trump move to rescind its ability to host international students. Harvard is separately in negotiations with the White House to end the legal fight.

Columbia University this month agreed to pay more than $200 million to the federal government to resolve investigations over alleged antisemitism amid its response to 2024 pro-Palestinian protests. On Wednesday, Brown University also came to a $50-million agreement with the White House. The Brown payment will go toward Rhode Island workforce development programs.

The Department of Justice said this week that it had found UCLA guilty of violating the civil rights of Jewish and Israeli students. The department also indicated that it wanted to the university to enter into negotiations to avoid a federal lawsuit.

The department gave UCLA a Tuesday deadline to communicate its desire to negotiate. If not, the DOJ said, it was ready to sue by Sept. 2.

The University of California, in a statement, was unclear on whether it would settle or go to court.

“UCLA has addressed and will continue to address the issues raised in [the] Department of Justice notice,” Stett Holbrook, associate director of Strategic and Critical Communications, wrote in a statement Wednesday. He cited a $6.45-million settlement the university reached with Jewish students who had sued over claims that the 2024 encampment had discriminated against them.

“We have cooperated fully with the Department of Justice’s investigation and are reviewing its findings closely,” Holbrook wrote.

In his Thursday letter, Frenk shot back against the cuts.

“Let me be clear: Federal research grants are not handouts. Our researchers compete fiercely for these grants, proposing work that the government itself deems vital to the country’s health, safety and economic future,” he wrote.

“Grants lead to medical breakthroughs, economic advancement, improved national security and global competitiveness — these are national priorities,” Frenk wrote, adding that “we are actively evaluating our best course of action. We will be in constant communication as decisions move forward.”

Love Island fans were told to vote for which couple they feel are the most compatible – with those with the fewest votes being dumped from the Island – but there may be more…

It was another dramatic night in tonight’s Love Island, as Helena and Blu were dumped from the villa just days before the final. However, the final six can’t relax yet, as at least one more couple are about to be dumped in what appears to be the final dumping of the series.

Tonight, the Islanders took part in the Knowing Me, Knowing You challenge, hosted by Yas and Jamie. The Islanders were asked a series of questions, some light hearted, and some not so light hearted.

Despite a number of arguments, it was Meg and Dejon and Shakira and Harry who came out victorious. To the Islanders, this was just an innocent game – but fans think the producers have added a savage twist…

READ MORE: Love Island’s Helena breaks down in tears as she’s brutally dumped days before finalREAD MORE: Love Island favourites Yas and Jamie spark ‘split fears’ as future plans come to light

At the end of tonight’s episode, viewers were told to vote for who they thought was the most compatible, with those with the least number of votes at risks of being dumped just days before the final. However, fans aren’t certain it’s all in the publics hands…

Yas and Jamie placed in last place during tonight’s challenge, with Ty and Angel coming just above them. Now, fans think they’re already in danger with them proving themselves to know each other the least.

They also predict the dumped Islanders will be making a return to make the decision, just like previous seasons. Dumped Islander Giorgio previously ‘let slip’ that he was going back to Mallorca this week during an interview on This Morning.

Taking to X, formerly known as Twitter, one fan penned: “This is when the dumped islanders will come in. Yas and Jamie and Angel and Ty will be the most vulnerable.”

Another penned: “’I’ve got a feeling that those with the least amount right might be up to be dumped by the other islanders and if it is and the producers let Meg and Dejon cheat I don’t even know how anyone can say it’s not blatant favouritism. I’ll be raging.”

Others fear that Toni and Cach are in danger if the dumped Islanders come back. After Toni chose to couple up with Harrison over Cach, some of the former Islanders aren’t her biggest fans.

“GUYS VOTE TONI & CACH THEY WILL BE DUMPED BY RETURNING ISLANDERS!” exclaimed one fan, while another wrote: “We need more votes for Toni and Cach. I’m scared for them.”

There’s just two more episodes to go before the live final on Monday August 4, but who will come away victorious?

LOVE ISLAND CONTINUES TOMORROW NIGHT AT 9PM ON ITV2 AND ITVX

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

THIS August, prepare for a cosmic reset and a surge of personal growth!

From Aries stepping into power and clarity to Taurus locking in love, each sign is poised for significant shifts…

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Aries

Cross the threshold, Aries – august opens a portal to power, clarity and cosmic rewards.

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Love & Relationships – The Emperor

Power dynamics are important, they shape our interactions and sense of identity.

The Emperor suggests you’re struggling with a power dynamic in your inner circle, someone has an upper hand and is wielding it wrongly.

It’s time to correct this by changing the mood, activity, and frequency of contact.

This person is likely to be very similar to you, almost a cosmic twin.

Re-set the energy by behaving differently this August.

This will work. Be consistent.

Work & Purpose – The Sun

You are entering your most powerful and successful era!

The Sun is a bringer of success, prosperity, joy, and ambition, almost inviting you to enter a realm of reward by making a confident step through a portal.

You need to apply, pitch, ask, challenge, or create something- almost like a sacrifice or ritual.

If you do it boldly, led by hope not fear, you will be met with great success.

International opportunities are also possible.

Omen to look out for – Nine of Cups

Look for the number 9 or repeats of it.

Look for symbols of wish making and dream fulfilment i.e. stars, magic lamps, genies, fairies etc.

Look out for a situation where you need a dash of luck to succeed.

If you notice one of these omens then you’re in the right place at the right time to get what you most want.

Take a step right THERE AND THEN.

About Kerry King

Kerry King, the tarot queen, uses tarot and star sign wisdom to create inspiring forecasts and insights, with nearly 30 years fortune telling experience, and many happy clients all over the world.

Join Kerry’s secret tarot club for exclusive forecasts, predictions, lessons, readings and 1-1 access to Kerry.

Sun readers get a WHOLE MONTH for FREE with this link https://www.patreon.com/thetarotclub/redeem/A2D66

Book your own tarot reading with Kerry here.

Find Kerry’s Good Karma Tarot deck here.

Taurus

Love locks in, but big decisions linger – Taurus, August is all about knowing what (and who) you want.

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Love & Relationships – Ten of Coins

All Taureans crave stability, certainty, and control- it’s hardwired into their nature.

The Ten of Coins delivers these much-sought things into your love life this August via proposals, commitments, declarations, intimate connections, legal agreements, and shared goals.

If you’re single, then a solid, loving fellow Earth sign (Taurus, Virgo, Capricorn) could enter your realm and become your ‘everything’.

A happy ever after in love awaits.

Work & Purpose – The Lovers

You feel a bit confused about your direction this August- maybe a head vs heart schism about your path or next step.

Take your time, don’t be pressured into a snap judgement.

Do the mental gymnastics and research to understand your situation, options, and potential fully, and wait until you feel clear and calm about a certain option.

And then, and only then, take decisive action.

Omen to look out for – Queen of Wands

Look out for women who inspire, excite, or wildly entertain you.

Listen to them carefully.

Look out for Fire sign folk (Aries, Leo, Sagittarius) who invite you someplace.

Look out for course, books, shows or podcasts about leadership.

If you notice one of these omens then you’re being advice, opportunity or insight that will help you to rise, take ownership, and fulfil a leadership role you’re destined for.

Gemini

Step back, learn more, and let the universe show its hand – Gemini, this month is a masterclass.

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Love & Relationships – Three of Wands

Step back from the pressure or expectation that it’s YOU who has to do all of the organising, fun-creation, and effort.

Let things swing as they would without your 24/7 influence, and see what’s really there.

Sometimes you do too much for others, and it’s taken for granted.

The Three of Wands shows that August will bring plenty of openings for folk to show you their true feelings and intentions towards you.

Work & Purpose – Page of Pentacles

Education is your BFF.

All Geminis love learning and studying- you never really left that school mentality.

The Page of Coins wants you back in the classroom, potentially for career (re)training, or even personal development.

Whether it’s formal or informal will depend on your circumstance and opportunity, but however you do it, seek education and stimulate your mind with new knowledge and skill.

What you learn could take you places!

Omen to look out for – The High Priestess

Look for the number 2 or repeats of it.

Look for couples who catch your eye, and ask yourself why.

Look out for psychic experiences or interludes, uncanny or strange occurrences, and notice where you were / what you were doing.

If you notice one of these omens then you’re receiving instruction from a higher being about what is important for you in relationships vs what you need to do / own / work on solo.

Cancer

See the truth, honour your intuition, and glow up – Cancer, August is a mirror and a map.

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Love & Relationships – Seven of Cups

Avoid the temptation to retreat into your Cancerian exoskeleton shell and spend more time thinking, vs doing anything, about your love life and key relationships.

You can project, assume, overthink. It doesn’t do any good. Instead, verify, discuss, ask, challenge, check.

Get clarity on where you stand and take steps from that point (not what you imagine to be the case).

Work & Purpose – Three of Wands

Luck, karma and fate are conspiring to bring you new news and ideas this August, so let them do their thing and don’t get in the way!

Tune into your intuition and gut instinct (which is very powerful for you).

Notice random events or acts, coincidence, omens and signs. Pay attention to your dreams.

Decipher messages and nudges and signposting from the psychic intel you receive!

Use it and new doors will open!

Omen to look out for – Judgement

Look out the number 20 or repeats of it (maybe in year format i.e. 2025).

Look out for mirrors, reflective surfaces that show you clearly or in a flattering light.

Look out for descriptions of you, your star sign maybe, or personality type that really resonate.

If you notice one of these omens then you are being told to update and upgrade your self image.

You are more powerful, beautiful, smart, and talented than you currently think.

Get up to speed on your magnificence!

Leo

Step into your power, Leo – this month, your creativity and confidence light the way to exciting new beginnings.

13

Love & Relationships – Two of Wands

You are always popular and in demand, both in friendships, family circles, and romance.

It’s time for you to know and act on the relationship priorities that you most value and wish to serve or build.

Know your inner circle, your key folk, and treat them as such.

Don’t get distracted or taken offline by new projects or faces.

Show loyalty and commitment and it will be returned tenfold, because you ARE loved.

Work & Purpose – Knight of Coins

August, despite being holiday season, might feel like hard work for you but the rewards will all be worthwhile so keep your nose to the grindstone… and then celebrate when the job is done, you’ll feel all the better for it.

Be determined and diligent in your efforts, whether this is related to career tasks, education or personal projects.

It will be demanding, but it will also be rewarding, and that’s a happy balance.

Omen to look out for – King of Cups

Look for dreams about love and romance, and notice WHO you’re dreaming about and how you feel.

Look for instant sparks and attractions with strangers.

Look out for chance encounters with someone you’re immediately fascinated by.

If you notice one of these omens you could be meeting or about to (re)connect with your future soul mate!

If you’re single (even if you’re not…) this could be IT!

Virgo

Justice, closure, and a second chance you didn’t see coming – Virgo, it’s time to reset.

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Love & Relationships – Justice

Play fair, be nice, stay on the straight and narrow, but don’t sacrifice yourself or your desires and needs to keep the peace either.

Balance is what is needed.

Maybe you’ve been ridden over too many times, maybe you’ve crossed lines you shouldn’t have.

Be honest and admit where there have been injustices in your close relationships recently.

What can you learn here? What could you change?

If you’re single, a beautiful Libran soul will enter your realm and perfectly suite in with your lifestyle.

Work & Purpose – Four of Cups

I think you feel a little complacent, maybe even bored or tired of your role or projects.

This happens.

We get a bit burnt out, we hit a wall, we need a change.

Use August as a refresher month.

See things with new eyes, get a fresh take on stuff, take a break and return with clear vision and a rested mindset.

If you can get away and take a complete break, then do.

You are renewing and restoring your energies.

Omen to look out for – Eight of Cups

Look for the number 8, or repeats of it.

Look for second chances, repeats, reruns, reinventions of old ideas in new guises.

Look out for memories or echoes of situations where you missed out on something but, maybe just maybe, it was for the best in hindsight.

If you notice any of these omens then you’re being given a chance.

Libra

Solitude, strategy, and a smart plan forward – Libra, this is your long game era.

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Love & Relationships – The Hemit

Solitude is a great healer and restorer. A little absence makes the heart grow fonder.

Giving someone the gift of missing you is often enough to reset the dynamic and return that loving feeling.

Don’t be scared to withdraw and get some peace and quiet, don’t be nervous of creating a boundary.

The Hermit hints you need space.

You need solitude so you can think (and so can they…).

Work & Purpose – King of Swords

It’s a good month to make a 10 (or 5) year plan!

What’s the goal, the key objective? What’s the strategy to achieve it? What are the tactics and timescale?

The King of Swords brings precise thought, clarity, inspiration, and innovation to your realm, helping you future proof and create shrewd plans of attack to get where you want to be- wherever that is!

This is a planning and research month.

Omen to look out for – Five of wands

Look for the number 5 or repeats of it.

Look for the feeling of frustration and resentment, sit with it, and notice who or what it sticks to.

Look out for situations where you feel stuck / overwhelmed / done to / stagnated.

If you see any of these signs, then you’re being shown first things first, the places you’ve outgrown and can immediately withdraw from.

Act on this insight.

Scorpio

Challenge accepted – Scorpio, this month you win, lead, and love on your own terms.

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Love & Relationships – Seven of Wands

There is competitive energy in your relationship realm, but that’s not necessarily a bad thing.

Sometimes it serves to be tested or tempted or offered a challenge which helps you rise to the occasion!

Look out for people who inspire new ideas or energy in your love life or friendships.

Look out for sparky Fire signs (Aries, Leo, Sagittarius) who motivate you to BE different.

Maybe this August’s love life move is to set your own goal or target and MAKE it happen!

Work & Purpose – Ten of Coins

If I said it would ALL be alright in the end and you’re destined for riches no matter what, then what power move would you confidently make?

Perhaps THAT is the step you’re destined to take this August.

The Ten of Coins promises a career and wealth happy ever after, as long as you stick to the plan and deliver consistently against it.

Be measured, well paced, and keep showing up, and people will believe in you, invest in you, and help you get where you want to go.

Respect is earned over time.

Omen to look out for – Ten of Wands

Look for the number 10 or combinations of it.

Look out for thins which have deflated, wilted, melted, or withered.

Notice places which look invitingly relaxing and comforting. Notice safe sanctuaries and rest zones.

If you notice one of these omens then you’re being invited to activate a phase of deep rest and hibernation- maybe for a hour, maybe for a weekend- you decide.

Rest is restorative right now.

Sagittarius 

This is your month, Sagittarius – new people, powerful insights, and journey.

13

Love & Relationships – Ace of Wands

It’s all new on the relationship front! New friends, admirers, family members, colleague, allies, and acquaintances.

These folk are being drawn into your life for a reason: to help you initiate new projects, roles, and growth.

It’s a time to travel with friends, plan a major life change with a loved one, embark on a new hobby in a group setting.

Look out for inspiring and charismatic Fire sign folk (Aries, Leo, Sagittarius) that you feel an immediate attraction towards.

Work & Purpose – Judgement

Judgement brings a deep and lasting sense of clarity to your realm.

You feel like you really understand your unique blend of experience, talent, skill, interest, and proven ability.

You know the niche for you!

When this is so blindingly clear, it’s so much easier to embrace that identity wholly, and to feel every inch of yourself authentically.

And this identity fit leads you to new opportunities because you’re vibrating NEXT LEVEL, attracting the opportunities meant ONLY for you.

A powerful August.

Omen to look out for – The Chariot

Look out for the number 7, or repeats of it.

Look out for unusual, outlandish, antique, or eye-catching vehicles.

Look out for trips, holidays, outings, excursions, and events that feel aligned to your emerging sense of identity and purpose.

If you notice one of these omens then you’re given a golden opportunity to travel or visit someplace that will UNLOCK vast new areas of potential for you.

Capricorn

Solo focus, big joy, and a lucky break – Capricorn, August helps you get ahead.

13

Love & Relationships – Queen of Swords

The Queen of Swords is all about solo and independent power and fortitude.

Sometimes you just so better flying solo, right?

Sometimes your own company is the best fuel and energy to help you get done what needs doing!

That’s not to say you shut off from family, love or friendship, but you MUST make time for your own projects and goals, by yourself, this August.

Your relationships will benefit from you being the best version of you!

Work & Purpose – Three of Cups

Wouldn’t it be great if work felt like play?

That’s kind of the ultimate goal, because then time becomes precious.

Time crawls when you have a job whereas it flies when you have a vocation.

Is it time to find that vocation for yourself?

The Three of Cups simply asks you to focus on, as much asp possible, what you love and enjoy doing in work or education.

Amplify the interests.

Excel in the areas you’re already talented and proficient.

Build on success and joy, and create an awesome career.

Omen to look out for – Three of Wands

Look for the number 3, or repeats of it.

Look for coincidence and de ja vu.

Look out for invitations that come from weird or totally unexpected sources.

If you notice one of these omens then you’re being gifted a golden opportunity to do something new that will lead to a new upwards trajectory in career, education, or both.

It’s time to get lucky and get ahead.

Aquarius

Truth, talent, and total alignment – Aquarius, it’s time to create something real.

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Love & Relationships – Seven of Cups

Overthinking rarely leads you anywhere good, useful, or worthwhile, in fact it often leads you in circles.

Your sign is famed for purity and honesty, so just get clarity on whatever feels murky.

Ask questions. Seek truth.

Understand the situation vs assuming or projecting.

Look out for creative Water signs (Pisces, Cancer, Scorpio) this August, a true alliance could be forged.

Work & Purpose – The Magician

The Magician is a wonderful card evoking entrepreneurship, creativity, invention and innovation.

You are going to create something magnificent that plays to a strength or talent and it’s going to activate a new chapter of success and growth.

This is also a manifesting card so you’re being given ideas and good fortune to help your ambitions and dreams come true.

This August is a game changer. Go create!

Omen to look out for – Three of Swords

Look out for the number 3 or repeats of it.

Look out for gut feelings of disquiet or distrust about someone or something.

Look out for people whose actions do not align with their words or promises.

If you notice one of these omens then you being shown a situation that is not what it seems and carries negative potential. Remove yourself.

Act on your hunch. Protect your interests.

Pisces

Grow stronger, think bigger, and expand your realm – Pisces, August brings new purpose.

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Love & Relationships – Page of Coins

There’s a real earnestness and desire to do better emerging in your relationship realm, on all levels, with family, friends and in love.

If we all tried a bit harder and repaired past damage and did better in future, how amazing could our alliances and support network become?

What if we all took that vow together?

Pisces, make this happen in your world. It could create the strongest relationship network EVER, with you in the middle of it, beautifully supported and loved.

Work & Purpose – Eight of Swords

Stop worrying about what others might think or say.

That is their business, not your business.

And your assumptions and projections really reveal more about your own insecurity or fear than the truth or reality of things.

So, stop, press pause on that kind of thinking.

Refocus on what you know, on what is happening, on the events and outcomes you’re managing.

And craft steps and actions that serve those realities directly, clearly, and positively.

A bit of focus will change everything.

Omen to look out for – The World

Look out for the number 21 or repeats of it.

Look out for trips, outings, vacation ideas, and journey inspirations that speak directly to a passion or goal in your realm.

Look out for stories, shows, and podcasts about something overseas that fascinates you.

If you notice one of these omens then you’re being asked to broaden your horizons, consider going someplace to do something stretching, or even moving location!

The world is your oyster, Pisces.

July 29 (UPI) — In a time when many Americans disapprove of current U.S. immigration efforts, officials at the U.S. Customs and Border Protection on Tuesday pointed out that CBP does more than protect Americans from illegal activity at the nation’s borders.

Since 2010, the New York office of U.S. Customs and Border Protection has partnered with the nonprofit Global Medical Relief Fund to provide assistance in a series of humanitarian acts and medical relief to children in over 64 nations.

“U.S. Customs and Border Protection is responsible for protecting the country,” Frank Russo, field director of the CBP’s New York office, noted in a statement.

But border agency officials spoke of a “commitment” to “balancing enforcement with empathy.”

On Tuesday, the federal government revealed that last year in June three young adult victims of violent attacks in Tanzania linked to tribal and ritualistic beliefs “were able to receive urgent medical care and prosthetics in the United States” due to CBP and GMRF working hand-in-hand.

The three young African natives born albino were, according to officials, “targeted and mutilated due to superstitions that their body parts bring good luck.”

They were lifted to the United States and stayed on Staten Island at GMRF’s Dare to Dream House in New York for children getting medical treatment.

The Staten Island-based GMF sees support from a network of international embassies and medical entities such as Shriners Children’s in Philadelphia.

Officials noted that whole the three albino survivors had since aged out of pediatric care, private medical company Med East had stepped-up to provide new prosthetics for the Tanzanian natives at no cost.

Russo reportedly visited the group. On Tuesday he called the CBP job “incredibly challenging.”

GMRF claims 500 children in 59 countries have been helped by their work with at 1 million “lives changed.”

However, the “commitment” by U.S. Customs and Border Protection to balance empathy and enforcement arrived as other federal law enforcement agencies, particularly U.S. Customs and Immigration Enforcement under the U.S. Department of Homeland Security, has seen a barrage of criticism.

ICE has faced waves of public backlash and negative media attention, including recent attempts on the lives of ICE agents in the Trump administration’s bid to curtail illegal immigration due to what many say has been unprofessional behavior and other questionable acts.

But Russo says efforts like CBP’s work with Global Medical Relief Fund are “immensely rewarding and demonstrate the humanitarian side of what we do.”

Meanwhile, the two entities on August 17 are set to welcome others via Dubai in the Middle East on a flight that will bring medical care and critical supplies in the area of prosthetic body parts.

President Donald Trump has claimed religious freedom under attack in US, as critics say he is eroding separation of church and state.

United States Federal workers – including supervisors – can attempt to persuade their colleagues to join their religion, according to a new directive from the director of the US Office of Personnel Management.

The memo sent by agency head Scott Kuper on Monday cites constitutionally protected freedom from religious discrimination in justifying the policy, framing it as part of the administration of President Donald Trump’s latest effort to protect religious freedom.

Critics have accused the Trump administration of pursuing policies that corrode the separation of church and state in the US, while elevating Christianity over other religions.

While the memo outlines some commonly accepted practices like allowing federal employees to pray in the workforce or wear religious attire, it takes a step further in saying that workers may engage in “attempting to persuade others of the correctness of their own religious views” as long as “such efforts are not harassing in nature”.

That can also include encouraging fellow workers to pray “to the same extent that they would be permitted to encourage coworkers to participate in other personal activities”.

New OPM guidance ensures the federal workplace is not just compliant with the law but welcoming to Americans of all faiths. Under @POTUS’s leadership, we are restoring constitutional freedoms and making government a place where people of faith are respected, not sidelined.…

— Scott Kupor (@skupor) July 28, 2025

“The constitutional rights of supervisors to engage in such conversations should not be distinguished from non-supervisory employees by the nature of their supervisory roles,” the directive said, while adding that employees cannot be punished for asking not to have the conversation.

The memo also outlines acceptable behaviours for federal employees who interact with the public, saying that religious expression should not be “limited by the venue or hearer”, while noting that statements made to the public “pursuant to their official duties” are not necessarily protected by the US Constitution.

As an example, the memo said that a national park ranger leading a public tour “may join her tour group in prayer” or that a doctor at the Veterans Affairs hospital “may pray over his patient for recovery”.

The Trump administration has repeatedly claimed an assault on religious freedom in the country, which it has vowed to counter.

In February, Trump, via executive action, launched a “Task Force to Eradicate Anti-Christian Bias”.

In May, he created the “Religious Liberty Commission”, releasing a fact sheet that only directly referenced Christianity, despite vowing to promote “America’s peaceful religious pluralism”.

Speaking at a Rose Garden event at the time, Trump questioned whether religion and government in the country should remain distinct.

“Separation? Is that a good thing or a bad thing?” Trump said at the time. “I’m not sure.”

“We’re bringing religion back to our country,” he said.

A senior State Department official who was fired as a speechwriter during President Trump’s first term and has a history of racially charged, incendiary statements has been appointed to lead the embattled U.S. Institute of Peace.

The move to install Darren Beattie as the institute’s new acting president is seen as the latest step in the administration’s efforts to dismantle the organization, which was founded as an independent, nonprofit think tank. It is funded by Congress to promote peace and prevent and end conflicts across the globe. The battle is currently being played out in court.

Beattie, who currently serves as the undersecretary for public diplomacy at the State Department and will continue in that role, was fired during Trump’s first term after CNN reported that he had spoken at a 2016 conference attended by white nationalists. He defended the speech he delivered as containing nothing objectionable.

A former academic who taught at Duke University, Beattie also founded a right-wing website that shared conspiracy theories about the Jan. 6 riot at the U.S. Capitol, and he has a long history of posting inflammatory statements on social media.

“Competent white men must be in charge if you want things to work,” he wrote in October 2024. “Unfortunately, our entire national ideology is predicated on coddling the feelings of women and minorities, and demoralizing competent white men.”

A State Department official confirmed Beattie’s appointment by the Institute of Peace board of directors, which includes Secretary of State Marco Rubio and Secretary of Defense Pete Hegseth. “We look forward to seeing him advance President Trump’s America First agenda in this new role,” they said in a statement.

The institute has been embroiled in turmoil since Trump moved to dismantle it shortly after taking office as part of his broader effort to shrink the size of the federal government and eliminate independent agencies.

Trump issued an executive order in February that targeted the organization and three other agencies for closure. The first attempt by the White House team known as the Department of Government Efficiency, formerly under the command of tech billionaire Elon Musk, to take over its headquarters led to a dramatic standoff.

Members of Musk’s group returned days later with the FBI and Washington Metropolitan Police to help them gain entry.

The administration fired most of the institute’s board, followed by the mass firing of nearly all of its 300 employees, in what they called “the Friday night massacre.”

The institute and many of its board members sued the Trump administration in March, seeking to prevent their removal and to prevent DOGE from taking over the institute’s operations. DOGE transferred administrative oversight of the organization’s headquarters and assets to the General Services Administration that weekend.

District Court Judge Beryl A. Howell overturned those actions in May, concluding that Trump was outside his authority in firing the board and its acting president and that, therefore, all subsequent actions were also moot.

Her ruling allowed the institute to regain control of its headquarters in a rare victory for the agencies and organizations that have been caught up in the Trump administration’s downsizing. The employees were rehired, although many did not return to work because of the complexity of restarting operations.

They received termination orders — for the second time — after an appeals court stayed Howell’s order.

Most recently, the U.S. Court of Appeals for the D.C. Circuit denied the U.S. Institute of Peace’s request for a hearing of the full court to lift the stay of a three-judge panel in June. That stay led to the organization turning its headquarters back over to the Trump administration.

In a statement, George Foote, former counsel for the institute, said Beattie’s appointment “flies in the face of the values at the core of USIP’s work and America’s commitment to working respectfully with international partners.” He also called it “illegal under Judge Howell’s May 19 decision.”

“We are committed to defending that decision against the government’s appeal. We are confident that we will succeed on the merits of our case, and we look forward to USIP resuming its essential work in Washington, D.C., and in conflict zones around the world,” he said.

Fields and Colvin write for the Associated Press.

The Smithsonian Institution has faced pressure from President Trump since March when he issued his “Restoring Truth and Sanity to American History” executive order, which demanded an end to federal funding for exhibitions and programs based on racial themes that “divide Americans.”

Amid Trump’s headline-grabbing gambits to remake the landscape of American arts and culture into a more MAGA-friendly image, another challenge to the Smithsonian flew largely under the radar. In early April, Texas Senators John Cornyn and Ted Cruz introduced the Bring the Space Shuttle Home Act, which proposed to move the space shuttle Discovery from the National Air and Space Museum’s Udvar-Hazy Center in Virginia to a spot near NASA’s Johnson Space Center in Houston. The act was folded into President Trump’s One Big Beautiful Bill, which Trump signed into law on July 4.

NASA gifted the Discovery to the Smithsonian in 2012 and it has been in Virginia ever since. Discovery launched on its maiden voyage in 1984 and flew 39 Earth-orbital missions — more than any other orbiter. The Smithsonian considers it a key part of its collection and issued a statement to Congress objecting to the proposed move. According to the Hill, the statement noted that “the case against relocating the orbiter Discovery is both philosophical and practical … It would be unprecedented for Congress to remove an object from a Smithsonian collection and send it somewhere else.”

In late June, the Houston Business Journal reported that the Smithsonian estimated the cost of moving Discovery to Texas would be between $300 and $400 million, far more than the $85 million cited by Cornyn and Cruz in Trump’s massive reconciliation and spending package.

Since the passage of of the bill, the fight over Discovery has heated up. Earlier this week, Rep. Joe Morelle, a Democrat from New York, introduced an amendment to keep Discovery at the Smithsonian. The Appropriations Committee agreed to the amendment, which now moves to the Rules Committee before going to the House floor for a vote.

“The forced removal and relocation of the Space Shuttle Discovery from the Smithsonian Institution’s Air and Space Museum is inappropriate, wasteful, and wrong. Neither the Smithsonian nor American taxpayers should be forced to spend hundreds of millions of dollars on this misguided effort. I am grateful for the bipartisan support of my colleagues on this amendment and hope we can continue working together throughout the remainder of the Appropriations process to keep a treasured Smithsonian artifact where it belongs,” Morelle said in a statement sent to The Times.

The Smithsonian did not respond to a request for comment on the evolving situation, or its quest to keep the Discovery in its collection.

I’m arts and culture writer Jessica Gelt, hoping to orbit a positive news cycle someday soon. Here’s your arts and culture roundup for this week.

The corpse flower is ready to bloom again at Huntington Garden.

(Robert Gauthier / Los Angeles Times)

The Corpse Flower
The infamously stinky plant, formally Titan Arum (Amorphophallus titanum), “produces the largest unbranched inflorescence in the plant kingdom” and is known for its pungent aroma. “Green Boy,” one of 43 corpse flowers in the Huntington’s collection may have already blossomed by the time you read this, so be sure to check it out as the bloom lasts only 24-48 hours. “It smells pretty bad,” Brandon Tam, the Huntington’s associate curator of orchids,” told Times summer intern Aspen Anderson in her story on the event. But for those who prefer to avoid the full olfactory experience, there’s a livestream.
10 a.m.–5 p.m., closed Tuesday. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Father John Misty performing in Atlanta in 2023.

(Paul R. Giunta / Invision / AP)

Father John Misty
Josh Tillman, whose Misty persona was described in a 2017 profile by Times pop music critic Mikael Wood as “a convivial (if polarizing) chronicler of society’s growing absurdity,” is joined by Lucinda Williams and Hamilton Leithauser for an eclectic evening of indie rock and folk.
7 p.m. Friday. Greek Theatre, 2700 N. Vermont Ave. lagreektheatre.com

Phasmagorica: The Room Between Worlds
Limited to nine audiences members at a time, this “experiential paranormal encounter” proudly boasts that it is not a performance and does not use actors. Instead, sacred geometry, occult methodology, immersive light phenomena and 13 speakers of Dolby Atmos sound produce “a fully-contained, tactile installation designed to provoke contact.” Guests are guided through a séance featuring spirit communication via arcane instruments and trigger objects, fortune-telling and psychological thresholds.
7:30 and 9:15 p.m. Friday through Sunday. Heritage Square Museum, 3800 Homer St. twilightdisturbances.com

Heather Graham, left, and Mike Myers star in the 1999 movie “Austin Powers: The Spy Who Shagged Me.”

(New Line Cinema)

Austin Powers triple feature
Yeah, baby! The academy’s “Summer of Camp” series continues with the shagadelic trilogy of “Austin Powers: International Man of Mystery” (1997), “Austin Powers: The Spy Who Shagged Me” (1999) and “Austin Powers in Goldmember” (2002). Director Jay Roach will be in attendance.
2 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Billy Woodberry
The MOCA Artist Film Series presents the L.A. Rebellion filmmaker’s 2016 feature, “And when I die, I won’t stay dead,” a documentary on the life of Beat poet Bob Kaufman. Best known for “Bless Their Little Hearts” (1983), Woodberry assembled archival footage and photos, interviews with Kaufman’s contemporaries, and readings from Ruby Dee, Ossie Davis and others, plus a jazz soundtrack featuring Billie Holiday and Ornette Coleman.
3 p.m. Saturday. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org

Queens of Soul
The peacocks and peahens will not be the only ones strutting and preening at the L.A. County Arboretum when the Pasadena Pops performs this salute to such divas as Aretha Franklin, Tina Turner, Whitney Houston, Alicia Keys, Adele and others, featuring hit songs such as “Respect,” “Proud Mary, “I’m Every Woman” and “Rolling in the Deep.”
7:30 p.m. Saturday. L.A. County Arboretum, 301 N. Baldwin Ave., Arcadia. pasadenasymphony-pops.org

Black Pasifika: Deep Sea Protocols
Writer, relational architect and guerrilla theorist Neema Githere hosts this program exploring the links between climate crisis and technology across Melanesia. Githere will provide context and discuss deep-sea protocols and the consequences of technological accelerationism on sea-stewarding peoples from the Swahili coast to Melanesia with their grandfather, Dr. Gilbert Githere, founder of the Mombasa-Honolulu Sister City society. The filmic essay “AI: African Intelligence” by Manthia Diawara searches for a more humane and spiritual control of algorithms. Ahead of the program, from 10 a.m.–6 p.m., the time-based somatic works “Oceanic Refractions” and “Cries From the Moana” will be shown on monitors in LACMA’s Smidt Welcome Plaza.
6 p.m. Sunday. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

L.A. Phil at the Hollywood Bowl
In a week of debuts, Italian conductor Daniele Rustioni, recently appointed principal guest conductor of the Metropolitan Opera, makes his Los Angeles Philharmonic bow leading the orchestra through Mendelssohn’s “Violin Concerto” (with soloist Veronika Eberle), selections from Berlioz and Liszt, and Respighi’s “Pines of Rome.” Two nights later, former Dudamel Fellow and current Boston Symphony Orchestra assistant conductor Anna Handler makes her first Bowl appearance, leading the Phil in the world premiere of Eunike Tanzil’s “Ode to the City of Dreams,” Mozart’s “Concerto for Flute and Harp” and Richard Strauss’ “Also sprach Zarathustra, Op. 30.” Mendelssohn, 8 p.m. Tuesday; Tanzil, Mozart and Strauss, 8 p.m. Thursday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

— Kevin Crust

The SoCal scene

“Buddha Shakyamuni,” Burma (Myanmar), circa 13th century; lacquered wood

(Christopher Knight / Los Angeles Times)

Times art critic Christopher Knight was thrilled to see the Los Angeles County Museum of Art’s exhibit “Realms of the Dharma: Buddhist Art Across Asia.” Currently installed in the temporary exhibition spaces of the Resnick Pavilion, the show consists of roughly 180 objects that have been in storage for years after being boxed up in preparation for the demolition of the museum’s original campus and the debut of the new David Geffen Galleries. Catch the exhibit now, before it gets stowed away again, writes Knight, adding that it “includes some of the most splendid sculptures and paintings” in the museum’s permanent collection.

Times classical music critic Mark Swed hopped a plane to Austria and headed for the small town of Bregenz, where a major arts festival that attracts more than 250,000 visitors in July and August and boasts a $31-million budget is hosted. The biggest draw at the bustling festival is opera, and the biggest show is a production staged each year on the Seebühne — a massive stage built directly on Lake Constance with bleachers to accommodate an audience of 7,000. “This year’s ‘Die Freischütz,’ Carl Maria von Weber’s early 19th century opera about a huntsman who makes a very bad deal with the devil for a magic bullet, opened last week and runs through Aug. 17,” writes Swed. “All 27 performances are expected to sell out as usual for the kind of spectacle that exists nowhere else.” Read all about the world-famous technical and artistic extravaganza, here.

Culture news

Johanna Burton was named the new Executive Director of the Museum of Contemporary Art.

(Photo: Erin Leland)

Johanna Burton is leaving the Museum of Contemporary Art, Los Angeles, to become the new director of the Institute of Contemporary Art at the University of Pennsylvania, ICA Philadelphia announced Thursday. Burton became MOCA’s first female director in 2021 after its recently named Artistic Director Klaus Biesenbach unceremoniously left his position for a job in Berlin. Burton’s departure makes her the fifth director to leave MOCA since 2008. Burton will fill the role at ICA Philadelphia left vacant by Zoë Ryan who exited the museum to take over leadership at the UCLA Hammer Museum in Westwood after its longtime director Ann Philbin retired. MOCA did not respond to a request for comment about Burton’s departure.

Architect Paul R. Williams’ L.A. building, Founders Church of Religious Science, is among five structures across the country picked to receive funding through the Getty Foundation’s Conserving Black Modernism Initiative. Announced earlier this week by the foundation and the National Trust for Historic Preservation’s American Cultural Heritage Action Fund, the money will support preservation plans for the buildings and further train caretakers in maintenance best practices. Another overarching goal is to increase public awareness of the architects’ legacies and the buildings they created. The other four buildings receiving Getty funds are the ITC Administration Building in Atlanta, designed by Edward C. Miller; First Church of Deliverance in Chicago, an adaptive reuse project redesigned by Walter T. Bailey; McKenzie Hall in Eugene, Ore., designed by DeNorval Unthank Jr.; and Vassar College’s 2500 New Hackensack building in Poughkeepsie, N.Y., by Jeh Vincent Johnson.

Contemporary artist Amy Sherald with her painting “As American as apple pie” in 2021.

(Brian van der Brug/Los Angeles Times)

Artist Amy Sherald has canceled her upcoming solo show, “American Sublime,” at the Smithsonian’s National Portrait Gallery, citing censorship after she was told the museum wanted to exclude a painting featuring a transgender woman holding a torch in a pose meant to evoke the Statue of Liberty. Sherald was told that the museum did not want to provoke a reaction from President Trump, who has brought anti-trans ideals into the federal government. In a statement to the New York Times, Sherald wrote, “It’s clear that institutional fear shaped by a broader climate of political hostility toward trans lives played a role.”

The Ebell of Los Angeles has named Camille Schenkkan its chief operating officer. The nonprofit organization, which dedicates itself to “inspiring women and fostering community through arts, culture and education,” was founded in 1894 and occupies one of the city’s most storied historic buildings — a campus and theater designed in 1927 by architect Sumner Hunt. Schenkkan arrives at the Ebell from Center Theatre Group, where she served as deputy managing director.

Republican members of the House Appropriations Committee introduced a proposal earlier this week to rename the Opera House at the John F. Kennedy Center for Performing Arts in Washington after the first lady, Melania Trump.

— Jessica Gelt

And last but not least

Marlee Matlin shared her favorite Sunday activities with The Times — including a stop for pizza in Eagle Rock (hint: it’s a classic). See you there!

Malcolm-Jamal Warner, the Emmy-nominated actor who starred as Theo Huxtable for eight seasons on “The Cosby Show,” has died, The Times has confirmed. He was 54.

Costa Rica’s Judicial Investigation Department told the Associated Press on Monday that Warner drowned Sunday afternoon on a beach on Costa Rica’s Caribbean coast. He was swimming at Playa Cocles in Limon province when a current pulled him deeper into the ocean.

First responders from Costa Rica’s Red Cross found him without vital signs and he was taken to the morgue. Warner was on vacation with his family.

Representatives for Warner declined to comment immediately Monday, but Warner’s friends and colleagues poured out their thoughts on social media.

“I love you, Malcolm,” wrote Tracee Ellis Ross, who co-starred as Warner’s wife on 29 episodes of “Reed Between the Lines.” “First I met you as Theo with the rest of the world then you were my first TV husband. My heart is so so sad. What an actor and friend you were: warm, gentle, present, kind, thoughtful, deep, funny, elegant. You made the world a brighter place. Sending so much love to your family. I’m so sorry for this unimaginable loss.”

Morris Chestnut, who worked with Warner on “The Resident,” was “heartbroken” to hear the news.

“He brought so much depth, warmth, and wisdom to every scene and every conversation,” Chestnut wrote. “One of the nicest in the business. Rest easy, brother. Your legacy lives on.”

“The JOY in your voice as you spoke about your daughter the last time we talked is all I can think about in this moment … Thank You for being a beautiful light. A Masterclass on the phrase ‘a class act.’ Well done,” wrote singer-songwriter Ledisi, who worked with Warner in music and on TV.

“Luke Cage” actor Mike Colter posted an all-smiles photo of himself and Warner that was taken when the two ran into each other about a year ago. They first connected during the pandemic lockdown, he said.

“I was fascinated by his depth and concern for his fellow man. His compassion for his people. His musical gifts and expressions in spoken word,” Colter wrote. “Yes of course I had watched him as I grew up on the Cosby Show but he had grown into so much more as an [artist] and a man. A father.

“I took this photo as his mother sat across from us. I complimented her on what a great job she had done with her son in this industry. He [turned] out so well,” Colter continued. “My heart goes out to her. I never heard a harsh word [spoken] about him. His legacy will live on. I’m so sorry for this loss to his family and friends. i’m in shock to be honest.”

Holly Robinson Peete said she met Warner in the 1980s when her father was a writer-producer on “The Cosby Show.” The two stayed friends over the years.

“I’m struggling to process this,” she wrote. “Malcolm was so deeply loved, respected, and a true icon of television. … He was always gracious, kind, funny and gave the absolute best hugs. I am sending my deepest condolences to his mom, Pamela and his family… We aren’t ready to say goodbye, Malcolm — but you lived with purpose, character, presence, and grace. Rest well, my friend. Your light lives on.”

“I actually am speechless!!!!! No words!,” Oscar-winning actor Viola Davis wrote. “Theo was OUR son, OUR brother, OUR friend… He was absolutely so familiar, and we rejoiced at how TV got it right!! But… Malcolm got it right… and now… we reveled in your life and are gutted by this loss.”

Niecy Nash said she had just spoken to Warner. “You were giving me my flowers for my work in @grotesqueriefx and we talked about how happy we both were in our marriages,” she wrote. “ Damn friend … You were cornerstone of The Cosby Show. We all loved Theo! Never to be forgotten. You will be missed. Rest Easy.”

Questlove said he saw himself in Theo Huxtable: being bad at football, wanting clothes he couldn’t afford, hiding edgy things from the parents.

“If you looked like me coming of age in the 80s, Malcom-as-Theo was a gps/lighthouse of navigating safety to adulthood. For those of us that didnt have ‘examples’ or ‘safe environments’ — I would like to think for anyone of age we used this entire show —and its offspring as life blueprints,” the music producer and drummer wrote.

In addition to acting on “The Cosby Show,” Warner directed five episodes over the final three years of the show. He was behind the camera for a half-dozen installments of “All That” and also directed episodes of “The Fresh Prince of Bel-Air,” “The Resident,” “Kenan & Kel” and “Reed Between the Lines.”

“Part of the reason I even got into directing is because I realized as an actor you really only have so much creative control over whatever project you’re acting in,” Warner told The Times in 1991. “I felt that, as a director, I would at least have more of a voice.”

He continued, saying, “Directing, as is acting and writing, is an interpretation. And I feel that I have a pretty good sense of how to tell a story. And I think that my interpretation of things is pretty, pretty good.”

Born Aug. 18, 1970, in Jersey City, N.J., Warner was named after activist Malcolm X and jazz pianist Ahmad Jamal. He caught the performing bug by the time he was 9 and wound up attending Manhattan’s Professional Children’s School, which counts him among its “distinguished alumni.”

His parents divorced when he was 3 and he was raised primarily by his mother, Pamela, who served as his manager in the early days of his career.

“I think probably the biggest influence — and I talk about this all the time, and I will probably continue to talk about this until my dying day — my mother. I think she really made the most impact on me,” he said.

Working on “The Cosby Show” in New York instead of Hollywood was another formative experience for him when the sitcom was the most popular thing on TV.

“There weren’t really many other shows shooting in New York. We all had to grow up with friends who were not in the business,” Warner told People in 2024. “And when you grow up in New York, there’s a different exposure to reality than when you grow up on television in Hollywood.”

After getting an Emmy nomination for supporting actor in 1986, for his work on “Cosby,” Warner went on to amass dozens of TV credits. They include four seasons as the lead actor on “Malcolm & Eddie” — he directed 17 episodes on that UPN show — and six seasons as A.J. Austin on “The Resident.”

Other appearances included work on “Sons of Anarchy,” “Major Crimes,” “Girlfriends’ Guide to Divorce” and “Suits.”

Warner also won a Grammy for traditional R&B performance in 2015 for the song “Jesus Children” and was nominated for spoken word poetry album in 2023.

His band Miles Long incorporated spoken word and funk. The band released “The Miles Long Mixtape” in 2004 and “Love & Other Social Issues” in 2007. “Selfless” dropped in 2015 and “Hiding in Plain View” came out in 2022.

“I’ve been writing all my life and playing bass came later on, when I was about 26,” Warner told Billboard in 2015. “What I recognized with poetry and music [is] that I had a different voice — there were things I wanted to express that I could not as an actor or even as a director. It was another avenue of expression that my soul needs.”

Of course, he was asked for his thoughts on co-star Bill Cosby when Cosby was accused of rape in 2015.

“He’s one of my mentors, and he’s been very influential and played a big role in my life as a friend and mentor,” Warner told Billboard. “Just as it’s painful to hear any woman talk about sexual assault, whether true or not, it’s just as painful to watch my friend and mentor go through this.”

Warner was very happy in his own marriage, though he kept his wife and daughter’s identities private.

“When people say, when you know, you know. That’s what this feeling is,” he said on the “Hot & Bothered” podcast in May. “We’ve been together almost 10 years. We’ve never had a fight, an argument, a raised voice or a harsh word. Not that we’ve always agreed. We’re just at a point where we have a way of communicating.”

After playing clean-cut Theodore Huxtable, Warner was looking for other paths when he talked to The Times in 1987.

“In my post-’Cosby’ life, as I call it, I don’t want to be known as just the kind of guy who can play a Theo Huxtable-type character,” Warner said. “I want to be known as being able to do more things, being able to stretch. For me that was the most important thing.”

The Associated Press contributed to this report.

Artists are formed by the spaces they spend time in — and in the case of countless Los Angeles artists, writers and musicians, that place was the city’s oldest restaurant and bar, Cole’s French Dip, which is slated to close on Aug. 2.

Founded in 1908 by Harry Cole in downtown’s historic Pacific Electric building, then the city’s primary railway transit hub, the legendary public house is credited with inventing the French dip sandwich after its chef dipped bread in au jus to soften it for a patron who had trouble chewing. (Note: Philippe the Original in Chinatown takes issue with this story, claiming full credit for the juicy culinary delight.)

The possibility of an apocryphal legend aside, Cole’s went on to become one of the very best bars in the area, attracting a solidly blue-collar crowd over the years, including the notoriously ribald, drunken poet Charles Bukowski. The restroom even sported a placard that read, “Charles Bukowski pissed here,” an unflinchingly literal claim to fame frequently mentioned in self-guided tours of literary L.A. (Barney’s Beanery in West Hollywood has a less off-color plaque at its bar in reference to Jim Morrison, who allegedly relieved himself on the spot without heading for the urinals.)

I like to think of Bukowski with a beer and a shot of whiskey in front of him, scribbling away on a napkin at the bar in Cole’s. I’ve done the same over the years, having discovered the bar in 1999 when I first moved to Los Angeles. Downtown was not on the up-and-up in those days, and Cole’s had fallen on hard times but was still beloved.

Cole’s French Dip in 1996.

(Con Keyes / Los Angeles Times)

My rock band played a few shows in its back room, and I fell in love with what was at the time a true dive bar — a place where the occasional unhoused patron spent his Social Security check alongside a smattering of unknown, paint-spattered artists who stopped by from nearby studios. I remember meeting a musician there one night who invited me and a friend to his 6th Street loft and showed me literally thousands of records stacked like a maze throughout the space, so high that you couldn’t see over them, so many that I wondered if he had space to sleep.

Cole’s was that kind of bar — a refuge for artists and misfits, a place that didn’t care what your story was as long as you had a good one.

The last time I went to Cole’s before downtown bar magnate Cedd Moses (artist Ed Moses’ son) bought it and restored it to its early 20th century glory, a rat ran over my foot as I sat at a torn, tufted banquette. I love a good dive (my husband proposed to me at the now-shuttered Brown Jug in San Francisco’s Tenderloin District), but that was a bridge too far, even for me.

Moses has long had a deep affinity for dive bars and, in the aughts, went about transforming and resurrecting a number of spaces in downtown L.A., including Cole’s, in ways that stayed true to their historic integrity. His 213 Nightlife Group (now called Pouring With Heart), was integral to downtown’s prepandemic boom.

That downtown is once again suffering from the kind of trouble and malaise that beset it in the ’80s and ’90s should be cause for great concern. On the bright side, it’s times like these when artists can again afford to move in. Maybe they can rally to save Cole’s.

I’m arts and culture writer Jessica Gelt, warning you that there is now often a line to get into Cole’s, but encouraging you to go anyway. Paying your respects to the classic institution is worth the wait. Bring a good book and a sketch pad.

Best bets: On our radar this week

Uma Thurman in “Kill Bill: The Whole Bloody Affair.”

(Andrew Cooper / Miramax Films)

‘Kill Bill: The Whole Bloody Affair’
Quentin Tarantino presents rare screenings of the complete version of his four-hour martial arts epic that brought together “Vol. 1” and “Vol. 2,” with additional flourishes. Uma Thurman stars as the Bride in a quest for revenge against the title character (David Carradine) and his band of assassins (Lucy Liu, Daryl Hannah, Vivica A. Fox and Michael Madsen). Added flair: It’s the filmmaker’s personal 35 mm print screened at the Cannes Film Festival in 2006, so it has French subtitles.
Friday-Tuesday, Thursday-July 28. Vista Theater, 4473 Sunset Drive. vistatheaterhollywood.com

Artemisia Gentileschi in Naples
Curator Davide Gasparotto discussses the Italian artist’s work from the period she spent in Naples beginning in 1630. Gentileschi quickly became one of the most in-demand painters in the region, and Gasparotto illustrates the large-scale works, including the newly restored “Hercules and Omphale,” she completed during this time.
2 p.m. Saturday. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu

George Strait performing in 2021.

(Jack Plunkett / Invision / AP)

George Strait
Chris Stapleton and Little Big Town join the country legend on this stadium tour in support of his latest album, “Cowboys and Dreamers.”
5:45 p.m. Saturday. SoFi Stadium, 1001 S. Stadium Drive, Inglewood. sofistadium.com

TaikoProject
The L.A.-based taiko drumming group marks its 25th anniversary with a one-night-only concert featuring its innovative percussion work, plus guests including the Grammy-winning Latinx group Quetzal and multi-instrument soloist Sumie Kaneko, performing vocals, on the koto and the shamisen.
7 p.m. Saturday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. musiccenter.org

‘Bye Bye Tiberias’
Filmmaker Lina Soualem portrays four generations of Arab women, including her mother, actor Hiam Abbass, who carry the burden of history within them and deal with an evolving meaning of home. Preceded by a 1988 short, “Measures of Distance,” in which filmmaker Mona Hatoum combines letters from her mother in war-torn Beirut with layered images and voice to question stereotypes of Arab womanhood. Both films are part of the UCLA Film and Television Archive’s series “(Dis)placement: Fluctuations of Home.”
7:30 p.m. Saturday. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

DeJuan Chirstopher and Kacie Rogers in the play “Berta, Berta.”

(Makela Yepez Photography)

‘Berta, Berta’
Andi Chapman directs the West Coast premiere of Angelica Chéri’s love story about a Black man seeking redemption in 1920s Mississippi. DeJuan Christopher and Kacie Rogers (“Furlough’s Paradise” at the Geffen) star.
July 19-Aug. 25; 8 p.m. Fridays, Saturdays and Mondays; 4 p.m. Sundays. The Echo Theater Company. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

Catherine Hurlin as Giselle and Daniel Camargo as Albrecht in an American Ballet Theatre production of “Giselle.”

(Rosalie O’Connor)

Giselle
American Ballet Theatre dances this romantic tale set in the Rhineland forests where betrayal, revenge and forgiveness play out. With the Pacific Symphony.
7:30 p.m. Thursday and July 25; 2 and 7:30 p.m. July 26; 1 p.m. July 27. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

The SoCal scene

Conductor Thomas Sondergard, left, applauds solo pianist Kirill Gerstein on opening night of the L.A Phil at the Hollywood Bowl on July 8, 2025.

(Gina Ferazzi / Los Angeles Times)

The Los Angeles Philharmonic opened its 103rd season at the Hollywood Bowl earlier this month, and all was not well, writes Times classical music critic Mark Swed, noting low attendance, the cancellation of highly anticipated shows featuring Gustavo Dudamel with the Simón Bolívar Symphony Orchestra and a general edginess that has taken root in the city since the intensive ICE raids began.

“‘A Beautiful Noise’ is a jukebox musical that understands the assignment,” begins Times theater critic Charles McNulty’s review of the show playing at the Hollywood Pantages Theatre through July 27. Anyone familiar with McNulty’s taste knows this is high praise coming from a critic who often doesn’t take a shine to the genre. This musical gets a pass because it exists simply to pay tribute to Neil Diamond’s beloved catalog with “glorious” singing of “American pop gold.” Former American Idol winner Nick Fradiani delivers a “thrilling vocal performance,” McNulty notes.

The New Hollywood String Quartet celebrated its 25th anniversary with a four-day festival at the Huntington’s Rothenberg Hall, and Swed was there to capture the scene. The festivities conjured the magic of the legendary studio musicians who first formed the quartet in the late 1930s. Classical music fans and lovers of cinematic scores didn’t always see eye to eye, but it was Hollywood that “produced the first notable American string quartet,” Swed writes.

McNulty also reviewed two shows in Theatricum Botanicum’s outdoor season: “The Seagull: Malibu” and “Strife,” both of which are reimagined in the American past. Ellen Geer directed the former, setting Chekhov’s play in the beach city of Malibu during the 1970s. Geer co-directs John Galsworthy’s 1909 social drama alongside Willow Geer — moving the action from the border of England and Wales to Pennsylvania in the 1890s. The plays are ambitious, if uneven, writes McNulty.

Culture news

Attendees surround the stage area where singer-musician Abraham Alexander is performing with his band at KCRW’s summer nights event at the Hammer Museum.

(Kailyn Brown / Los Angeles Times)

The Hammer Museum is back with its annual summer concert series, which is free as always. There are two upcoming shows: Very Be Careful with Healing Gems and DJ Eléanora, July 31; and Open Mike Eagle with Jordan Patterson and J.Rocc, Aug. 19.

Ann Philbin, former director and current director emeritus of the Hammer Museum at UCLA, was named this year’s Getty Prize recipient. She chose to donate its accompanying, pay-it-forward $500,000 grant to NPR and its Los Angeles member stations, KCRW and LAist.

The “Jesus Christ Superstar” casting news keeping coming. Earlier this week, it was announced that Josh Gad will play King Herod and Phillipa Soo will play Mary Magdalene in Andrew Lloyd Webber’s iconic musical, staged at the Hollywood Bowl in early August and starring Cynthia Erivo as Jesus and Adam Lambert as Judas.

The Carpenter Center announced its 2025–2026 season, including an evening with Sandra Bernhard and Mandy Patinkin in concert; a cabaret series that opens with Melissa Errico performing Barbra Streisand’s songbook; a dance series featuring Alonzo King LINES Ballet; a “Wow!” series that includes the Peking Acrobats; and a Sunday afternoon concert series with a special tribute to the songs of John Lennon and Harry Nilsson.

— Jessica Gelt

And last but not least

Hot cheese bread and meat pies? Count me in!

The day before our interview, cinematographer Darius Khondji tells me he went to see a Pablo Picasso exhibit in uptown New York City. And though he would never compare himself to the Spanish painter, Khondji says he found a kinship in the way he described his artistic practice.

“About his style, he said that he was like a chameleon, changing completely from one moment to another, from one situation to another,” Khondji, 69, recalls via Zoom. “This is exactly how I feel. When I’m with a director, I embrace that director completely.”

Backlit, with natural light coming from the large windows behind him on a recent afternoon, Khondji appears shrouded in darkness, at times like an enigmatic silhouette with a halo of sunshine around his fuzzy hair. The Iranian-born cinematographer speaks animatedly, with hand movements accentuating every effusive sentence.

“Sometimes I talk in a very impressionistic way,” Khondji says, apologetically. “I might be confusing but I try to be just honest and say what I feel.”

Khondji’s eclectic resume flaunts an exceptional collection of collaborations, some of the best-looking movies of their moments: David Fincher’s gruesome but gorgeous “Seven,” Jean-Pierre Jeunet and Marc Caro’s darkly whimsical and richly textured “Delicatessen” and “The City of Lost Children,” Michael Haneke’s unflinching love story “Amour,” James Gray’s old-school luxurious “The Immigrant,” the Safdie Brothers’ nerve-racking and kinetic “Uncut Gems,” and now Ari Aster’s paranoid big-canvas pandemic saga “Eddington,” in theaters Friday.

Khondji stands simultaneously as a wise member of the old guard and a hopeful champion for the future of film. Sought in decades past by the likes of Woody Allen, Roman Polanski and Bernardo Bertolucci, he’s now lending his lensing genius to a new generation of storytellers with ideas just as biting.

“Darius understands the human soul and he masters the tools to express it,” says filmmaker Alejandro González Iñárritu via email. “All the technical choices — framing decisions, uses of color and lighting techniques — he is able to apply them, but always subordinated to the director’s vision and, most importantly, to the needs of the film itself.”

Khondji, left, with director Alejandro González Iñárritu on the shoot of 2022’s “Bardo, False Chronicle of a Handful of Truths.”

(SeoJu Park / Netflix)

Khondji earned his second Oscar nomination for his work on the Mexican director’s surrealist 2022 film “Bardo, False Chronicle of a Handful of Truths.” The motion picture academy first acknowledged his artistry with a nod for Alan Parker’s sumptuous 1996 musical “Evita.”

“Darius is kind of a poet — everything is feeling-based with him,” says Aster via video call from Los Angeles. “He is an intellectual but he is also decidedly not.”

If you were to dissect the pivotal memories that shaped Khondji’s creative mind, the array of touchstones would include a photograph of Christopher Lee as Dracula that his brother would bring him from London. Also in prime of place: an image of his older sister, Christine, whom he considers an artistic mentor.

You would also find the intense orange color of persimmons squashed in his family’s garden in Tehran during winter — the only sensory memory he has from his early childhood before his family moved to Paris when he was around 3 1/2 years old in the late 1950s.

“Sometimes I look at my granddaughter and grandson and say, ‘OK, they are 3, almost 3 1/2, so this is the amount of language I had, but it was probably mostly in Farsi,’” he says. Khondji returned to Iran only once, as a teenager in the early 1970s, with a Super 8 camera in hand.

He has been watching movies since infancy. His nanny, an avid moviegoer, would take him to the cinema with her. And later, his father, who owned movie theaters in Tehran and would source films through Europe, brought him along to Parisian screening rooms as a kid.

“These are all stories told to me and a mix of impressions and feelings of things that I remember,” Khondji explains. That visceral, heart-first way of perceiving the world around him might be the defining quality of his approach to image-making. It’s always about how something feels.

“Cinema is a strong force,” he says. “You cannot limit it only with aesthetic taste or things that you like or don’t like or rules. You just have to go with the flow and give yourself to it. You need a lot of humility.” At that last thought, Khondji laughs.

Cinematographer Darius Khondji, photographed in France in 2021.

(Ariane Damain Vergallo)

When he started making his own Dracula-inspired short films on Super 8 as a teenager, Khondji had little idea about the distinct roles of a film production. Slowly, he started noticing that the directors of photography for the movies he liked were often the same artists.

“I was discovering that some films looked incredible — they had a very strong atmosphere,” Khondji recalls. “Then I found that the same name of one person was on one movie and then another movie, and I thought, ‘OK, this person really is very important.’” He mentions Gregg Toland, the legendary shooter of Orson Welles’ “Citizen Kane.”

But it wasn’t until Khondji attended NYU for film school that he dropped his aspirations for directing and decided on becoming a cinematographer. His film exercises leaned more toward the experiential than the narrative. He refers to them as “emotional wavelengths.”

“It’s really the director and the actors that trigger my desire to shoot a movie,” says Khondji. “The script is, of course, a great thing, but once I want to work with the director, I really trust them.”

Hearing Khondji speak about directors, it’s clear that he puts them in a privileged light — so much so that he makes a point of creating what he calls a “family” around them to ensure their success. This means he ensures the director feels comfortable with the gaffer, the dolly grip, the key grip, so that there’s no one on set that feels like a stranger.

With Aster, for example, their bond emerged from a shared voraciousness for film. The pair had several hangouts together before a job even entered the equation. Khondji is a defender of the polarizing “Beau Is Afraid,” his favorite of Aster’s movies. “Eddington” finally brought them together as collaborators for the first time.

“Ari and I have a common language,” he says. “We discovered quite early on working together that we have a very similar taste for dark films, not dark in lighting but in storytelling.”

Joaquin Phoenix, left, and Pedro Pascal in the movie “Eddington.”

(A24)

While scouting locations in Aster’s native New Mexico, he and Khondji came across the small town where the Coen brothers’ “No Country for Old Men” was filmed. And though they both revere that arid 2007 thriller, they wanted to get away from anything tied to it, so they pivoted again to the community of Truth or Consequences.

Khondji recalls Aster describing his film, about a self-righteous sheriff (Joaquin Phoenix) in a grudge match against the mayor (Pedro Pascal), as “a European psychological thriller on American land.” For the cinematographer, the movie is “a modern western.”

“We wanted the exterior to be very bright, like garishly bright, like the light has almost started to take off the color and the contrast a little bit because it’s so bright, never bright enough,” explains Khondji about shooting in the desert.

For Khondji, working Aster reminded him of his two outings with Austria’s esteemed, ultra-severe Michael Haneke, with which the cinematographer made the American remake of “Funny Games” and “Amour,” the latter on which he discovered a “radically different kind filmmaking” where “everything in the set had to have a grace of realness.”

“‘The color is vivid in a way that it isn’t in any of his other films,” says Aster about the quality that Khondji brought to “Amour,” Haneke’s Oscar-winning film.

Still, after working with some of the world’s most acclaimed filmmakers on features, music videos, commercials and a TV show (he shot Nicolas Winding Refn’s 2019 “Too Old to Die Young” and became infatuated with the San Fernando Valley), Khondji prefers to be reinvigorated by younger artists challenging the rules.

“‘Uncut Gems’ was like turning a page for me in filmmaking,” he says, calling out to Josh and Benny Safdie. “These two young filmmakers were making films in a different way. And the fact that I could keep up with them — they are in their 30s — psychologically, it gave me a lot of strength.” Khondji also shot Josh Safdie’s upcoming “Marty Supreme,” out in December.

Is there a visual signature that defines Khondji’s work? Perhaps, even if he doesn’t consciously think of it. A lushness, a preference for olive greens and blacker-than-black shadows. An intense fixation on color in general. There are also aesthetic preferences that Aster noticed from their work on “Eddington.”

“Darius and I hate unmotivated camera movement,” Aster says. “But there are certain things that never would’ve bothered me compositionally that really bothered Darius, and now they’re stuck in my head. For instance, Darius hates it when you cut off somebody’s leg, even if it’s at the ankle. A lot of Darius’s prejudices have gone into my system.”

Khondji concedes to these particularities, yet he doesn’t think in rigid absolutes.

“You have a rule, and then you decide this is the moment to break the rule,” he says, citing the rawness of the films of French director Maurice Pialat or how actor Harriet Andersson looks directly into the camera in Ingmar Bergman’s 1953 “Summer with Monika.”

He recently watched Ryan Coogler’s box-office hit “Sinners” without knowing anything about its premise beforehand. “People who know me know that I don’t like spoilers,” he says. “I’m very cautious with film reviews. They are very important, but at the same time, I don’t want to know the story.”

Khondji had never seen one of Coogler’s films, but was impressed. “I really enjoyed it,” he says. “After I watched it I wanted to know who shot the film, but I enjoyed the actors so much and I love just being a real member of the audience.”

It might surprise some to learn that Khondji’s initial interest in seeing a film is unrelated to how it looks or who shot it.

“When I watch a film people say, ‘Oh, did you notice how it was shot?’ And I don’t really go for that,” he says. “I mostly go to watch a film for the director.”

These days, his wish list includes the opportunity to shoot a proper supernatural horror film (Aster might be handy to stay in touch with) and for a company to make a modern film-stock camera. Khondji is not precious about format but believes shooting on film should stay an option as it is the “natural medium” of cinema.

He tells me how much he loves going to the Egyptian Theatre in Hollywood. “It’s really like a shrine for me,” he says, recalling seeing Alfred Hitchcock’s “Vertigo” there on true VistaVision.

“It was an incredible emotion,” he adds. “Like the emotion I had when I grew up with my dad, when they would take me to see big films in the cinemas where the ceiling had stars to make you dream even before the film started.”

That dream is what Khondji is still chasing, in the cinema and on set.

He inveighs against illegal immigration in terms more appropriate for a vermin infestation. He wants all people without papers deported immediately, damn the cost. He thinks Los Angeles is a cesspool and that flying the Mexican flag in the United States is an act of insurrection. He uses the internet mostly to share crude videos and photos depicting Latinos as subhuman.

Stephen Miller? Absolutely.

But every time I hear the chief architect of Donald Trump’s scorched earth immigration policies rail in uglier and uglier terms, I recall another xenophobe I hadn’t thought of in awhile.

For nearly 30 years, Glenn Spencer fought illegal immigration in Los Angeles and beyond with a singular obsession. The former Sherman Oaks resident kicked off his campaign, he told The Times in a 2001 profile, after seeing Latinos looting during the 1992 L.A. riots and thinking, “Oh, my God, there are so many of them and they are so out of control.”

Spencer was a key volunteer who pushed for the passage of Prop. 187, the 1994 California ballot initiative that sought to make life miserable for undocumented immigrants and was so punitive that a federal judge later ruled it unconstitutional. A multiplatform influencer before that became commonplace, Spencer hosted a local radio show, produced videos that he mailed to all members of Congress warning about an “invasion” and turned his vitriolic newsletter into a website, American Patrol, that helped connect nativist groups across the country.

American Patrol’s home page was a collection of links to newspaper articles about suspected undocumented immigrants alleged to have committed crimes. While Spencer regularly trashed Muslims and other immigrants, he directed most of his bile at Mexicans.

A “Family Values” button on the website, in the colors of the Mexican flag, highlighted sex crimes allegedly committed by undocumented immigrants. Editorial cartoons featured a Mexican flag piercing a hole in California with the caption “Sink-hole de Mayo.”

Long before conservative activists recorded themselves infiltrating the conferences of political enemies, Spencer was doing it. He provoked physical fights at protests and published reams of digital nonsense against Latino politicians, once superimposing a giant sombrero on an image of Antonio Villaraigosa with the epithet, “Viva Mexico!”

On the morning Villaraigosa, the future L.A. mayor, was to be sworn in as speaker of the assembly in 1998, every seat in the legislative chamber was topped by a flier labeling him a communist and leader of the supposed Mexican takeover of California.

“I don’t remember if his name was on it, but it was all his terminology,” said Villaraigosa, who recalled how Spencer helped make his college membership in the Chicano student group MEChA an issue in his 2001 mayoral loss to Jim Hahn. “But he never had the balls to talk to me in person.”

Spencer became the Johnny Appleseed of the modern-day Know Nothing movement, lecturing to groups of middle-aged gringos about his work — first across the San Fernando Valley, then in small towns where Latinos were migrating in large numbers for the first time.

“California [it] has often been said is America’s future. Let me tell you about your future,” he told the Council of Conservative Citizens in Virginia in 1999.

White House Deputy Chief of Staff Stephen Miller speaks with the media outside the White House in Washington, DC, on May 9, 2025.

(Saul Loeb/ AFP via Getty Images)

Spencer is the person most responsible for mainstreaming the lie of Reconquista, the wacko idea that Mexicans came to the U.S. not for economic reasons but because of a plot concocted by the Mexican government to take back the lands lost in the 1848 Mexican-American War. He wrote screeds like “Is Jew-Controlled Hollywood Brainwashing Americans?” and threatened libel lawsuits against anyone — myself included — who dared point out that he was a racist.

He was a favorite punching bag of the mainstream media, a slovenly suburban Ahab doomed to fail. The Times wrote in 2001 that Spencer “foresaw millions of converts” to his anti-immigrant campaign, “only to see his temple founder.”

Moving to southern Arizona in 2002, the better to monitor the U.S.-Mexico border, Spencer spent the rest of his life trying to sell state and federal authorities on border-monitoring technology he developed that involved planes, drones and motion-detection sensors. His move inspired other conservatives to monitor the U.S.-Mexico border on their own.

By the Obama era, he was isolated even from other anti-immigrant activists for extremist views like banning foreign-language media and insisting that every person who came to this country illegally was a drug smuggler. Even the rise of Trump didn’t bring Spencer and his work back into the limelight.

He was so forgotten that I didn’t even realize he was dead until Googling his name recently, after enduring another Miller rant. Spencer’s hometown Sierra Vista’s Herald Review was the only publication I found that made any note of his death from cancer in 2022 at age 85, describing his life’s work as bringing “the crisis of illegal immigration to the forefront of the American public’s consciousness.”

That’s a whitewash worthy of Tom Sawyer’s picket fence.

We live in Glenn Spencer’s world, a place where the nastier the rhetoric against illegal immigration and the crueler the government’s efforts against all migrants, the better. Every time a xenophobe makes Latinos out to be an invading force, every time someone posts a racist message on social media or Miller throws another tantrum on Fox News, Glenn Spencer gets his evil wings.

Spencer “stood out among a vile swamp of racists and crackpots like a tornado supercell on radar,” said Brian Levin, chair of the California Civil Rights Department’s Commission on the State of Hate and founder of the Center for the Study of Hate and Extremism at Cal State San Bernardino, who monitored American Patrol for years. “What’s frightening now is that hate like his used to be well-segregated from the mainstream. Now, the guardrails are off, and what Spencer advocated for is federal policy.”

I first found out about Spencer in 1999 as a student activist at Chapman University. Spencer applauded the Anaheim Union High School District’s decision to sue Mexico for the cost of educating undocumented immigrants’ children, describing those of us who opposed it as communists — when he was being nice. His American Patrol described MEChA, which I, like Villaraigosa, belonged to, as a “scourge” and a “sickness.”

His website was disgusting, but it became a must-read of mine. I knew even then that ignoring hate allows it to fester, and I wanted to figure out why people like Spencer despised people like me, my family and my friends. So I regularly covered him and his allies in my early years as a reporter with an obsession that was a reverse mirror of his. Colleagues and even activists said my work was a waste of time — that people like Spencer were wheezing artifacts who would eventually disappear as the U.S. embraced Latinos and immigrants.

And here we are.

Spencer usually sent me legal threats whenever I wrote about his ugly ways — threats that went nowhere. That’s why I was surprised at how relatively polite he was the last time we communicated, in 2019.

I reached out via email asking for an interview for a Times podcast I hosted about the 25th anniversary of Prop. 187. By then, Spencer was openly criticizing Trump’s planned border wall, which he found a waste of money and not nearly as efficient as his own system. Spencer initially said he would consider my request, while sending me an article he wrote that blamed Prop. 187’s demise on then-California Gov. Gray Davis and Mexico’s president at the time, Ernesto Zedillo.

When I followed up a few months later, Spencer bragged about the legacy of his website, which he hadn’t regularly updated since 2013 due to declining health. The American Patrol archives “would convince the casual observer that The Times did what it could do [to] defeat my efforts and advance the cause of illegal immigration,” Spencer wrote. “Do I think The Times has changed its spots? No. Will I agree to an interview? No.”

Levin hadn’t heard about Spencer’s death until we talked.

“I thought he went into irrelevance,” he admitted with a chuckle that he quickly cut off, realizing he had forgotten about Spencer’s legacy in the era of Trump.

“We ignored that cough, that speck in the X-ray,” Levin concluded, now somber. “And now, we have cancer.”

This weekend, Descanso Gardens will unveil a meticulously curated art exhibition titled “Roots of Cool: A Celebration of Trees and Shade in a Warming World.” Co-curated by Edith de Guzman, cooperative extension climate researcher at the UCLA Luskin Center for Innovation, and artist Jolly de Guzman — a husband-and-wife duo — the exhibition highlights all-women artists who provoke visitors to contemplate the pressing issue of shade equity, the unequal access to cooling shade across urban neighborhoods, and what a tree and shade filled future can look like for L.A.

The goals of the exhibition are clear from the start, beginning with its title, “Roots of Cool,” which creatively integrates the Fahrenheit symbol in the word “of,” a tree in the letter “t” and the word “cool” as a shadow cast from the word “roots.”

The exhibit begins in the garden’s pathways, strewn with artworks, which lead visitors to the gallery rooms housed in the park’s Sturt Haaga Gallery and historic Boddy House.

A visitor’s proposal for a new type of bus stop that offers more shade, part of the new exhibition “Roots of Cool: A Celebration of Trees and Shade in a Warming World” at Descanso Gardens on July 9, 2025.

(Juliana Yamada / Los Angeles Times)

The first piece of art on the path, located at the gardens entrance, is Leslie K. Gray’s “Bus Stop of the Past,” an outdoor installation that shows the silhouette of a woman standing on an L.A. street, presumably waiting for a bus, with no shade structure nearby, meant to represent the climate-related challenges women bus riders faced while commuting in the past.

It’s the first of a three-part installation — the other two parts show up later in the exhibition — that invites visitors “to think temporally about where we’ve been and where we’re going,” Gray said. According to the artist, it is meant to highlight historical urban planning decisions that have left certain communities disproportionately vulnerable to heat, particularly women of color, who are prominent riders of L.A. public transportation, as indicated by statistics displayed on the bus signs accompanying the works.

Another standout of the outdoor part of the exhibition is Chantée Benefield’s “Cool Canopy,” which entails dozens of multicolored umbrellas suspended over visitors’ heads. The piece is particularly resonant given that it is actually a recreation that Benefield made after the original was lost, along with her family home, in the Eaton Fire.

Artist Chantée Benefield’s installation “Cool Canopy” at Descanso Gardens on July 9, 2025.

(Juliana Yamada / Los Angeles Times)

“What if the trees in neighborhoods were like graffiti, just ubiquitous everywhere?” Benefield asked. Her installation is both a colorful homage to lost greenery and a powerful statement on urban shade disparities, prompting visitors to contemplate what they would do without the shade being cast by these “trees” as they walk through the sunny patch where the work is located.

The next stop on the pathway is the second piece in Gray’s three-part installation: “Bus Stop of the Present.” It’s a version of the first, but with the addition of a shade structure for the woman bus rider. However, it shows clearly that the added structure is still inadequate, reflecting many of the realities women bus commuters face today. The bus sign here contains scientific facts that make the case for the critical need for systemic urban planning changes. Gray emphasized that these facts were carefully selected from peer-reviewed research and “scientifically vetted.”

Entering the Sturt Haaga Gallery, things change. Each room is meant to elicit a specific experience around urban planning and vegetation, and so each has its own visual and auditory scheme.

Kim Abeles’ piece “Looking for Paradise (Downtown Los Angeles).”

(Juliana Yamada / Los Angeles Times)

It begins with a dreary, urban past: shown against gray walls, works by Kim Abeles and Diana Kohne address historical inequities. Abeles’ installation “Looking for Paradise” visualizes the uneven distribution of trees in Downtown Los Angeles, while Kohne’s painted urban landscapes vividly depict the shade inadequacies she witnessed firsthand through her bus commutes as an L.A. resident, emphasizing how Los Angeles and other cities were built for “efficiency” rather than human comfort. The works are paired with compelling research, including the history of redlining and crucial heat-shade statistics, which visitors can interact with and see how their own communities are affected by these factors.

The next room is the present, with bright yellow walls representing the increasing urban heat of a changing climate. The artworks attempt to do the same. For example, Lisa Tomczeszyn’s installation, “Every Bench Deserves a Tree,” consists of two benches beside each other, one with no shade and only a street sign reading “Asphalt Blvd” while the other is shaded by a large tree — with leaves that are actually cutout photos of trees throughout the Deaconso gardens.

Finally, the third gallery room attempts to project a cooler, more verdant future with walls colored a serene green hue. It features works that imagine a future where technology and city planning better respond to environmental stressors, including Pascaline Doucin-Dahlke’s “Suspended Garden.” Like Tomczeszyn’s work in the previous room, this piece is also comprised primarily of benches set underneath umbrellas. In this case however, those umbrella canopies are made of repurposed plant materials.

Artist Pascaline Doucin-Dahlke’s piece “Suspended Garden” at Descanso Gardens.

(Juliana Yamada / Los Angeles Times)

One key goal of the exhibit is to help visitors connect to the importance of heat, shade and urban trees. For example, at the very end of the exhibit in the Boddy House, visitors can contribute to a real-world data collection study about how shade shapes their neighborhoods and what shade-heat related fact they find most striking, and are also invited to draw their imagined shade structures for women waiting at bus stops.

“[We] just don’t want to do science and just don’t want to do art. [We] want to create a good intersection that actually engages people,” said Jolly de Guzman.

Yarn Bombing Los Angeles’ installation inside of Boddy House at Descanso Gardens on July 9, 2025.

(Juliana Yamada / Los Angeles Times)

“We want to get them through the heartstrings, visually, aesthetically and actively,” added Edith de Guzman. Reflecting on the broader potential for change, she said, “There’s a lot of reasons to despair right now, but if we change our radio frequency a little bit, we can connect to a whole different feeling. We can actually create the city we want, in the neighborhoods that we deserve.”

The exhibition will run from July 12 to Oct. 12, 2025, with a free opening reception on Friday, July 11, from 5 to 7 p.m.

In early July, the Los Angeles Philharmonic quietly canceled all four Hollywood Bowl performances featuring Venezuela’s Simón Bolívar Symphony Orchestra conducted by Gustavo Dudamel. The L.A. Phil, in a statement, attributed the cancellations of the L.A. leg of the orchestra’s 50th anniversary tour to “travel complications,” and said it looks forward to “welcoming the Orchestra back in the future.”

Venezuela is on the list of countries on President Trump’s recently announced travel ban list. The ban for the country is partial, but it does affect the types of visas typically used for tourism and business. A number of readers wrote in about the cancellations, speculating about visa issues and the Trump administration’s aggressive immigration policies. Asked if this was the case, or if any further details about the cancellations were available, a rep for the L.A. Phil declined to comment beyond what was provided in the organization’s statement.

In a review of the Bowl’s opening night, Times classical music critic Mark Swed credited the loss of the orchestra‘s visit to Trump’s travel ban and lamented that the cancellation would reduce Dudamel’s appearances on the Bowl’s stage to a single week during his 16th and penultimate season before he leaves L.A. to become music and artistic director of the New York Philharmonic in 2026.

The Bolívar Orchestra likely won’t have any trouble traveling to the United Kingdom, however, because it is set to play as a special guest alongside Dudamel for 10 sold-out shows with the rock band Coldplay at Wembley Stadium in late August and early September. (Turns out Coachella was just a warm-up for Dudamel, who really has achieved rock star status in the music world.)

Ticket holders for the canceled Bowl shows received emails about the cancellations and were told that their tickets would remain valid for newly announced programming: Elim Chan, James Ehnes, and the L.A. Phil on Aug. 12 for Tchaikovsky and The Firebird; Gemma New and the L.A. Phil performing Tchaikovsky’s 4th on Aug. 14 with Pacho Flores; and Enrico Lopez-Yañez and the Hollywood Bowl Orchestra performing Aug. 15-16 with Los Aguilar.

When the Bowl season was first announced, L.A. Phil President and Chief Executive Kim Noltemy told me that much of the season was organized to highlight Dudamel’s work, including performances featuring composers, musicians and music that he is particularly fond of.

At that time, Dudamel was set to conduct eight shows in August, four of which were with the Bolívar Orchestra — a situation that speaks to his deep, decades-long ties with the organization, which started as a youth ensemble and is composed of musicians trained by Venezuela’s famed music education program, El Sistema, which also counts Dudamel as an alumnus.

I’m arts and culture writer Jessica Gelt, dreaming of a trip to London for an extraordinary show. In the meantime, here’s your arts news for this weekend.

Best bets: On our radar this week

Tiffany Tatreau, from center left, Nick Fradiani and Kate A. Mulligan in “A Beautiful Noise: The Neil Diamond Musical.”

(Jeremy Daniel)

’A Beautiful Noise: The Neil Diamond Musical’
This jukebox musical that ran on Broadway for more than a year finally reaches L.A. on its national tour. Featuring nearly 30 of Diamond’s songs, including “Solitary Man,” “Sweet Caroline,” “I Am … I Said” and “Song Sung Blue,” the show is framed by therapy sessions in which the singer-songwriter reflects on his life’s highs and lows and the genesis of his writing with different actors playing “Neil – Then” (2015 “American Idol” winner Nick Fradiani) and “Neil – Now” (Tony nominee Robert Westenberg).
7:30 p.m. Tuesday-Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 1:30 and 6:30 p.m. Sunday, through July 27. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com

“Portrait of a Man,” Hendrick Goltzius (1607), pen and brown ink and black chalk, with touches of gray wash, incised for transfer. 11 5/8 × 7 15/16 in. (29.5 × 20.2 cm)

(Getty Museum)

‘Lines of Connection: Drawing and Printmaking’
The exhibition shares the narrative of how European artists worked on paper with various media from the 15th through 19th centuries. The show also includes large-scale works by L.A.-based artist Toba Khedoori.
10 a.m.-6:30 p.m. Sunday, Tuesday-Friday; 10 a.m.-9 p.m. Saturdays; closed Monday; through Sept. 14. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu

Joan Crawford, left, and Bette Davis in the 1962 film “Whatever Happened to Baby Jane?”

(Silver Screen Collection / Getty Images)

A Joan Crawford Triple Feature
The Academy Museum screens three late-period Crawford vehicles in 35 mm in its Ted Mann Theater. “What Ever Happened to Baby Jane?” (1962), directed by Robert Aldrich and co-starring Bette Davis (who received an Oscar nomination) relaunched the actors’ careers and became a cult classic. In “Strait-Jacket” (1964), directed by British horrormeister William Castle, Crawford played a woman released from a psychiatric hospital 20 years after being convicted of murdering her husband and his lover with an ax. Finally, Crawford’s last big-screen appearance came in “Trog” (1970), wherein she starred for director Freddie Francis, the noted cinematographer, as an anthropologist who attempts to domesticate a caveman in the 20th century U.K.
2:30 p.m., 5 p.m. and 6:45 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Composer Alexandre Desplat conducts an evening of his award-winning film scores at the Hollywood Bowl.

(Jennifer McCord / For The Times)

The Cinematic Scores of Alexandre Desplat
Hot on the heels of the release of the hit movie “Jurassic World Rebirth,” in which Desplat incorporated John Williams’ stirring “Jurassic Park” theme into his new score for the film, the celebrated French composer takes the Hollywood Bowl stage to conduct a career-spanning evening of his work. In addition to his Oscar-winning scores for Wes Anderson’s “The Grand Budapest Hotel” and Guillermo Del Toro’s “The Shape of Water,” the program includes musical selections from “The Imitation Game,” “The King’s Speech” and more.
8 p.m. Tuesday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Culture news

Playwright Richard Greenberg is seen in New York’s Chelsea neighborhood in 2013.

(Jennifer S. Altman / For The Times)

Times theater critic Charles McNulty writes an appreciation of playwright Richard Greenberg, who died July 4 of cancer at age 67. Greenberg’s rise to fame began with his 1988 play “Eastern Standard,” which received a rave review by theater critic Frank Rich in the New York Times. McNulty remembers seeing the play on Broadway as a student and was “dazzled by Greenberg’s New York wit, which struck me as an acutely sensitive, off-angle version of George S. Kaufman’s Broadway brio.”

The casting news continues for “Jesus Christ Superstar” at the Hollywood Bowl. We already know that Cynthia Erivo is set to play Jesus and Adam Lambert will play Judas — now we have it that Milo Manheim will play Peter and Raúl Esparza will play Pontius Pilate. The musical will run Aug. 1, 2 and 3.

The SoCal scene

Pasadena Playhouse, the State Theatre of California, is offering a robust slate of educational offerings.

(Jeff Lorch)

The Pasadena Playhouse is fast moving toward artistic director Danny Feldman’s goal of once again making its historic campus a buzzing hive of educational activity. The playhouse announced earlier this week that it is expanding its offerings, adding options for adults and seniors to its still-growing roster of classes and camps for kids and teenagers. A musical theater community choir, a storytelling workshop and acting lessons for non-actors are also joining the lineup. Check out the schedule, and sign up, here.

IAMA Theatre Company announced its 18th season at the Atwater Village Theatre, featuring the world premiere of Matthew Scott Montgomery’s “Foursome,” a story about queer love and family that is produced in association with Celebration Theatre. There will also be two original workshop productions, including Mathilde Dratwa’s “Esther Perel Ruined My Life,” directed by Ojai Playwrights Conference Producing Artistic Director Jeremy B. Cohen. The 8th annual New Works Festival gets things started from Oct. 9 to 13, and offers audiences the ability to see fresh stagings by playwrights in need of early reactions to help develop and hone their writing. The season ends with a final workshop production of JuCoby Johnson’s “…but you could’ve held my hand,” about the ongoing relationships of four Black friends.

Pack snacks and a blanket and head for the 405 because the Getty’s annual Garden Concerts for kids are back. The series begins Aug. 2 and 3 with 123 Andrés. The next weekend will bring Kymberly Stewart to the stage, followed by Divinity Roxx Presents: Divi Roxx Kids World Wide Playdate on Aug. 16 and 17. The fun begins at 4 p.m., so make a day of it and check out the art first. A free reservation at Getty.edu is required for entry.

— Jessica Gelt

And last but not least

Need a stiff drink after a hard day of doomscrolling? The Food team has created a handy guide featuring 14 martinis that are shaking and stirring the cocktail scene.

NEW YORK — Social justice advocates are creating a queer history archive that celebrates Bayard Rustin, a major organizer in the Civil Rights Movement and key architect of the March on Washington.

The Bayard Rustin Center for Social Justice will launch a digital archive this fall featuring articles, photos, videos, telegrams, speeches and more tied to Rustin’s work. Sourced from museums, archives and personal accounts, it’s designed as a central space where others can add their own stories, creating a living historical record.

“There’s this hole in our history,” said Robt Martin Seda-Schreiber, the center’s founder and chief activist. “And there are great resources about Bayard, but they’re all spread out, and none of it has been collected and put together in the way that he deserves, and more importantly, the way the world deserves to see him.”

Rare footage of Rustin speaking at a 1964 New York rally for voting rights marchers who were beaten in Selma, Ala., was recently uncovered and digitized by Associated Press archivists. Other AP footage shows him addressing a crowd during a 1967 New York City teachers’ strike.

“We are here to tell President Johnson that the Black people, the trade union movement, white people of goodwill and the church people — Negroes first — put him where he is,” Rustin states at the 1964 rally. “We will stay in these damn streets until every Negro in the country can vote!”

Rustin mentored Rev. Martin Luther King Jr.

The legacy of Rustin — who died in 1987 aged 75 — reaches far beyond the estimated 250,000 people he rallied to attend the March on Washington in 1963, when Rev. Martin Luther King Jr. delivered his “I Have A Dream” speech. Rustin also played a pivotal role behind the scenes, mentoring King and orchestrating the Montgomery bus boycott.

And his influence still guides activism today, reminding younger generations of the power the community holds in driving lasting change through nonviolence, said David J. Johns, a queer Black leader based in Washington, D.C.

“Being an architect of not just that moment but of the movement, has enabled so many of us to continue to do things that are a direct result of his teaching and sacrifice,” said Johns. He is the chief executive and executive director of the National Black Justice Collective, which attributes its advocacy successes in the Black queer space to Rustin’s legacy.

Rustin was born into activism, according to the Martin Luther King, Jr. Research and Education Institute. His grandparents, Julia Davis and Janifer Rustin, instilled in him and his 11 siblings the value of nonviolence. His grandmother was a member of the NAACP, so Rustin was surrounded and influenced by leaders including the activist and scholar W.E.B. Du Bois and James Weldon Johnson, who wrote “Lift Every Voice and Sing.”

Rustin was expelled from Wilberforce University in 1936 after he organized a strike against racial injustice. He later studied at Cheyney University of Pennsylvania, the nation’s first historically Black college, then moved to New York during the Harlem Renaissance to engage more deeply with political and social activism. He attended the City College of New York and joined the Young Communist League for its stance against segregation.

Rustin served jail time and was posthumously pardoned

Rustin was arrested 23 times, including a 1953 conviction in Pasadena, for vagrancy and lewd conduct — charges commonly used then to criminalize LGBTQ+ people. He served 50 days in jail and lost a tooth after being beaten by police. California Gov. Gavin Newsom issued a posthumous pardon in 2020, acknowledging Rustin had been subjected to discrimination.

Rustin and figures such as Marsha P. Johnson, a prominent transgender activist during the gay rights movement, continue inspire the LGBTQ+ community because they “were super intentional and unapologetic in the ways in which they showed up,” Johns said.

“I often think about Bayard and the March on Washington, which he built in record time and in the face of a whole lot of opposition,” Johns said.

Walter Naegle, Rustin’s partner and a consultant on projects related to his life and work, said it’s important for the queer community to have access to the history of social movements.

“There wasn’t very much of an LGBTQ+ movement until the early 50s,” said Naegle. “The African American struggle was a blueprint for what they needed to do and how they needed to organize. And so to have access to all of the Civil Rights history, and especially to Bayard’s work — because he was really the preeminent organizer — I think it’s very important for the current movements to have the ability to go back and look at that material.”

Rustin had to step away from leadership for several years

Rustin’s sexuality and his former association with the Young Communist League forced him to step away as a Civil Rights leader for several years.

In 1960, New York congressman Adam Clayton Powell Jr. threatened to spread false rumors that Rustin and King were intimately involved, weaponizing widespread homophobia to undermine their cause, according to the Martin Luther King, Jr. Research and Education Institute.

But Rustin resumed his work in 1963 as chief organizer of the March on Washington, which became a defining moment in the Civil Rights Movement and paved the way for the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965.

In 2023, Netflix released the biopic “Rustin.” Filmmaker and co-writer Julian Breece, who is Black and queer, grew up in the ’90s when, he said, being gay still correlated with the spread of AIDS, leading to shame and isolation. But he learned about Rustin’s impact on the Civil Rights Movement and found a peer to admire.

“Seeing a picture of Rustin with King, who is the opposite of all those things, it let me know there was a degree to which I was being lied to and that there was more for me potentially, if Bayard Rustin could have that kind of impact,” Breece said.

“I wanted Black gay men to have a hero they could look up to,” he said.

Green writes for the Associated Press.

There’s a reason Nate Jackson’s debut Netflix special arrives during barbecue season. Perched on a stool under the spotlight at his shows, the comedian spends most of the evening delivering hospital-worthy third-degree burns to crowd members who want the smoke. If you lock eyes with him in the first five rows, chances are you even paid extra to be his next victim by sitting in “the roast zone.”

During a recent pair of packed, back-to-back gigs at the Wiltern last month, the Tacoma-bred comic made full use of his flame-throwing abilities to torch his highest-paying L.A. fans over their questionable fashion choices, weird haircuts and bad teeth. As the evening progresses he dives deeper, extracting more information and grilling them about their personal lives and romantic relationships with a camera zoomed in on them, broadcasting their faces on a jumbo screen if they were at a Dodger game. When everything works right, Jackson finds a way to weave the stories of his random burn victims together in a way that makes the whole show feel pre-planned. Meanwhile, even as Jackson is busy making fans the butt of his comedic freestyle, the person laughing the hardest is usually the roastee. It’s the mark of good crowd work that’s not simply well done but more importantly done well.

This ride of the unpredictable twists and turns is given the same spotlight and attention in his special as his pre-written jokes in a way that keeps the pace engaging while making his audience the stars of the show. It makes his debut “Nate Jackson: Super Funny” a testament to the style and the brand of comedy he’s grown from a weekly comedy night to a brick-and-mortar comedy club and now a Netflix special that bears the same name.

Speaking of names … no, he didn’t interview himself for this story. But a journalist and the comedian swapping professions for a day or two could be funny. Whaddaya think, Nate?

Recently Nate Jackson spoke to Nate Jackson about his career coming up in the Tacoma comedy scene, refining his ability to improv on shows like MTV’s “Wild ‘N Out” and using his crowd work skills to go viral on TikTok.

This conversation was edited for length and clarity.

Well, well … Nate Jackson.

Nate Jackson.

I heard about you, man.

When I Google me … we come up. What is the likelihood of that?

It’s been my whole career — searching “our name.”

Then there’s a random guy [another Nate Jackson] playing a guitar and then all of the sudden, a third-string Denver Bronco [also named Nate Jackson] wants to write a book about playing football while high, and then he takes over the front three pages of our name.

No worries, us doing this interview together will definitely help us both surge in Google rankings.

So you’re Nate Jackson. I’m Nate Jackson Jr., and my dad is [also named] Nate Jackson. So this is a lot of Nate Jackson.

Some Nate-ception going on!

[Laughs] Bars!

Congrats on your latest special, “Nate Jackson: Super Funny.”

What’d you think?

I thought that it was a great balance of what everyone’s seeing on you on their phones [via TikTok] recently, and it also shows people what you spent your entire career doing in comedy before social media. You’re able to convey the level of crowd work you do in a live setting really well. I know a lot of people say, “Oh, crowd work is so easy to do,” but is it actually really hard?

Oh no, it’s easy to do. It’s hard to do right.

“Organic [humor] wins almost every single time when you’re writing material. One of the main challenges is making it so that it’s consumable by the masses,” Jackson said. “You want to write about things that people can relate to.”

(Christina House / Los Angeles Times)

How did it start for you with the crowd work becoming a central part of your act?

It never was a thing I wanted to go to as a central part of my act. I fought against that concept. If you work on a joke for three months, you want that to work more than the thing you just walked out [on stage] and said, “Look at that light flickering.” But you can’t control what is going to hit harder. Organic [humor] wins almost every single time when you’re writing material. One of the main challenges is making it so that it’s consumable by the masses. You want to write about things that people can relate to. You want to be relatable, right? Well, what’s more relatable than, “It’s hot in here, and we can all feel it.”

How did you get started in the Tacoma comedy scene?

I started because I had a room in Tacoma, Washington. I had a lot of rooms in Washington, and I consolidated them into a Thursday night, and it was the “Super Funny Comedy Show,” which is now the “Super Funny Comedy Club.” But it was every Thursday, and I was young enough in my career that I was like, I need to produce a show that would pack this place out, and I don’t have the skill set to be the [driving force] yet. But I can host; I can add a live band. I need my headliners coming from somewhere else. So that’s why we had [big names like] Lil Rel, Tiffany Haddish, Leslie Jones, Deon Cole. So Tacoma was spoiled by the lineups that came and did [my] Thursday night.

In doing that, every week I could write, but I could not keep up with the pacing of having a monologue every Thursday. [I was] a new comic without my voice. So I abandoned that. Sometimes I would make a joke and then say, “Now I’m just gonna mess with who’s in front of me.” And that [crowd work] muscle started to pulsate. Then I added a little improv to it. Then it I said, “All right, this next [set] I’m gonna go up with [no material]. I’m gonna go up naked and I’m coming off with a ‘W.’” It got to where people are like, “Yo, I kind of like it when you just freestyle.”

So doing improv on stage led to you freestyle roasting people?

It didn’t necessarily need to be a roast. I could be [a joke on] something I saw on the news that day. They just want to see me create — to just pick up the newspaper and then go off that. I’m like, “Guys, that’s a slap in the face to when I’m putting three, four hours in at Starbucks, working on the writing and making sure the punch lines are all there.” But it’s the same thing I’m doing with the crowd work content. I don’t just mess with people for the sake of messing with them. I am getting information to then plug into a setup. Now we’re in a comedy structure where it’s act out and mix up a set up, a punch line, etc. I want to make it worth slowing down the pacing that I would have if I was the only one talking and dictating the energy.

When I go to somebody, it is now at their pacing. They can take four minutes on the answer, and people are now fidgeting in the crowd. I’m like, “Come on now, hey, come on.” You got to keep it moving; that’s the rule to what’s happening onstage. It can go slow, but we need to feel like we’re going from point A in a story or an interaction to point B. Sometimes maybe I’m going from point A to point C, and I hit you with some misdirection in there, then, wham to point C and all connects. People are like, “Wait, so the last 10 minutes was a setup?!” That’s what I pride myself on. So you, how do just say, “Oh, that’s crowd work” — is it?

“I think that what I’m doing it is the evolution of stand-up,” Jackson said. “You [can’t] go on stage and just do your set the same way — the way you practice it in your mirror — in front of a blinding light, where you can’t even see [the crowd].”

(Christina House / Los Angeles Times)

It’s definitely more than what people ascribe to it as a part of a show. It turns the fans into the show in a way that they can walk away feeling good about — even if they’ve been roasted.

And that’s on me, because I could just be malicious and leave it bad. But I always, I try to uplift. I’m a “Que,” a member of Omega Psi Phi [fraternity]. It’s one of our principles, “to uplift.” I don’t want you to leave the show being like, “Man, I’ll never watch a show again.” No, it should be like, “Okay, [he roasted me], but we had fun.” I’m not trying to beat up on people.

I wanted to talk about the role TikTok played in your recent glow-up in comedy over the last few years. How did it help you develop as a comedian?

I just started showing [my skills]. Once you start showing it, you’re not a secret anymore. Comics would come to Tacoma — which is off the beaten path — and then be like, “There’s a guy up there that even as a host you need to have, you need to be ready to follow, because he’s just — he’s literally just up there winging it, and he’s on fire.” Everyone in comedy knows the guy or the girl, and that was kind of what the stigma became. I was one of comedy’s best-kept secrets. People would come up [to my comedy shows], they would see my razzle-dazzle, they would take little bits of my recipe and add it to their stuff. And so I would watch people years later and be like, “Really … really?!” Don’t come up here and take my sauce and then, because you got more shine than me, use it. It takes a lot to just be the person that can handle that and not develop a chip on the shoulder. But if I’m the creator, if I’m their origin and I’m the source of [my style of comedy], then I have no issue continuing to create.

People were just like, “You need to get online!” I was like, “I am! I have every app and I’m tired now. How many things I gotta manage?” And it just got to the point where I was like, “Alright, let me get on. Let me do TikTok. That’s the app where people are following.” I saw friends that were having wild success on there, and I was like, alright, I’ll try it. And sure enough, within six or seven clips — the seventh [clip] hit. It wasn’t mega viral or anything, but it did more than my average video was doing over on on Instagram. I said, there’s something to this. And I stayed on it. And then things kept it [growing]. And so I was watching, and the needle was moving. And so here we are.

How often would you post clips on TikTok when you started using it?

I was posting at least once a day. That is not easy, because you got to get your sound right, your video needs to be quality, and then you got to pull it, edit it, and caption the words that are on the screen. There’s AI now, but all of us who were doing this [before AI] would laugh about it and be like,“When do you caption?” We’ll watch a movie and literally just be captioning. For a five-minute video, a four-minute video, I’m talking about exhaustion … Now, you plug that thing in [with AI] and the whole thing is done. Thank God, or thank computer. I don’t know who [I] was supposed to thank in that scenario, but it streamlined the process so much more content can come out now. What took me all night long to get one clip out — now we do three a day. Or two a day now, at the very least.

We talk about how AI can be a threat to original entertainment, including comedy. But are there ways AI and social media have changed the art form for the better?

Yes, and we can do so much more. We can now edit a whole podcast in two minutes. You would think it’s getting rid of jobs, and in theory it should be, but it should make one person be able to do so much more. Instead of someone losing the job, we have the capacity to put out way more content. So let’s keep all of our employees, but let’s now do 180% times more work. Also as far as AI goes, I’m okay if we stop right now for two years. Let’s just stop right now … before we legitimately are in a plot of “Terminator.”

With the type of show you’re doing now, where do you see the future of comedy going?

“Live your life to the fullest. Love hard, play hard,” Jackson said. “We only got one shot at this. I left it all out on the stage. That’s exactly how we should live every day.”

(Christina House / Los Angeles Times)

I think that what I’m doing it is the evolution of stand-up. You [can’t] go on stage and just do your set the same way — the way you practice it in your mirror — in front of a blinding light, where you can’t even see [the crowd]. What’s the difference between being in front of seven people or 70,000 people? It feels exactly the same. I think there’s a detachment between the person and the people. We’ve seen the guys that are such glitzy superstars — that just being there to watch it, that’s the presence you want to be in. But with human interaction, every show is different. You have to be malleable and loose. You can’t do your set, 1-2-3-4-5 — you gotta be able to go 5-3-2-1-4, with different segues on the fly.

What’s a better mechanic, the one that does the same 14 diagnostic steps no matter what car comes in, or the one that opens the hood and listens and goes, “[Your car needs a] timing belt, gimme a timing belt”? Let’s say you have five jokes — your hot five. Three [jokes] are about your cat, one’s about your mom and one is about a motorcycle. And you walk out on stage and there’s a motorcycle club in the front four rows. Do you get off of your normal order and establish rapport with the audience by moving your motorcycle joke to the front, or do you set yourself up for failure by talking about your new cat for three jokes to a motorcycle gang? They’ll listen to you if they like you. So get what will establish that first — be malleable.

A lot of new fans of yours may not know, but you’ve had experience with improv years ago in the “Wild ‘N Out” days [on MTV during Season 8, circa 2016]. What’s it like taking those skills you learned on TV and moving it to your own specials, podcasts and social media in this new era?

It’s all “yes, and …” We take the current situation and go, “What else can we add?” We’re just building … the real talent, the expertise comes in when they build, and it’s also a pivot, like the segue you just did right now to get into this topic. So kudos to “Wild ‘N Out” to being able to procure and find all of us and put us together. But all of us obviously had something, otherwise how do you catch the eye of a network showrunner? Shout out to Nile Evans and everybody that’s a part of procuring the talent that ends up being the stars of tomorrow. We can be like, “Oh, it’s a little urban hip-hop show.” Or we can be real about the fact that Katt Williams and Kevin Hart and all these people have come down the halls of that show. I would argue “Wild ‘N Out’s” alumni that have hit are as decorated or more than “In Living Color.”

This special feels like just a big culmination of your career right now. What’s something you would want people to take away from it after watching?

Live your life to the fullest. Love hard, play hard. We only got one shot at this. I left it all out on the stage. That’s exactly how we should live every day. Bert Kreischer said [my new special] made him miss doing stand-up … that is so powerful. The best comics make you go, “Why didn’t I think of that?” or, “God, I gotta write!” He didn’t watch it and go, “You know who you remind me of?” I think that’s not flattering. He watched and said, “I gotta get down on my stuff.” I don’t know if it’s like, “Oh, this kid’s coming,” or if it’s just a, “I respect what you do, I appreciate it, and it made me want to get back on my stuff.” I feel like it’s more the latter, but there’s going to be some of that “OK, this kid’s coming.” There’s going to be nothing you can do because I’m coming, whether you like this special or not.