Shawn Colvin has been “a working musician” since she was 18 years old, playing around Carbondale, Illinois, while attending Southern Illinois University.

“That’s a career,” she notes, with a chuckle. And indeed it has been.

Colvin has released a dozen albums since her Grammy Award-winning debut, “Steady On,” came out in 1989, while she was based in New York City. That includes a “Holiday Songs and Lullabies” collection in 1998, the covers set “Uncovered” in 2015, a collaboration with Steve Earle the following year, and an acoustic reworking of “Steady On” to celebrate its 30th anniversary in 2019. Colvin also won a pair of Grammys in 1998 for “Sunny Came Home,” the Top 10 hit from her fourth album, 1996’s “A Few Small Repairs.”

“I don’t know if I was confident it was gonna work out,” Colvin, who turned 70 in January, says via phone from her home in Austin, Texas. “There was a point when I was in New York, playing in clubs and bars and dance halls, when I thought: ‘Maybe I’m not supposed to do this. All I do is cover songs, and I really want to be a songwriter, and I’m feeling kind of sick of being a copycat.’ It was leaving me feeling empty.

“And after I’d walked away, per se, I had this voice come into my head that said, ‘But you’re good at it!’ And I was like, ‘Yeah, I am good at it.’ And the voice said: ‘You have to be a solo acoustic artist. That’s what you do best, and you have to write personal songs’ … like my acoustic-playing songwriting heroes, of which there were many.

“So that was the voice I followed, and look where it got me.”

Colvin is satisfied to be still doing just that: “You play three hours a night, three nights a week, or more, you’re gonna get good, so that`s the standard, always,” she explains. But she’s also working on new music, although not saying much about it other than “it will be an album,” on which she’s collaborating with Stephen Barber, an Austin-based composer she’s worked with periodically over the years.

“I’m taking it really slow — obviously,” Colvin notes. “I’ve made a lot of records, so at this point if I do another one, it needs to mean something, y’know?”

Shawn Colvin performs at 7:30 p.m. Saturday, March 7, at The Ark, 316 S. Main St., Ann Arbor. 734-761-1800 or theark.org.

Other music events of note this weekend (all subject to change) include …

FRIDAY, MARCH 6

• The Detroit Symphony Orchestra holds its annual Classical Roots weekend with a pair of concerts — 10:45 a.m. and again at 7:30 p.m. Saturday, March 7 — conducted by Thomas Wilson and featuring Kenneth Thompkins on Carlos Simon’s “Troubled Water” for trombone and orchestra at Orchestra Hall, 3711 Woodward Ave., Detroit. The Saturday show will stream free via the “Live From Orchestra Hall” series. The Saturday show will stream free via the “Live From Orchestra Hall” series. A Classical Roots Celebration gala and dinner takes place at 5 p.m. Saturday, with an afterglow following the concert. 313-576-5111 or dso.org.

• The DSO has also opened an exhibit celebrating 50 Years of Classical Roots featuring artifacts, oral histories and other elements. The exhibit will be open through 2028 on the third floor of the William Davidson Atrium in the Fisher Music Center, 3711 Woodward Ave., Detroit.

• The annual Hamtramck Blowout runs through Saturday, March 7, with 130 acts playing at 18 venues around the city. Visit hamtrmackblowout.com for a full schedule, tickets and other details.

• German DJ Paul Van Dyk mans the decks at the Magic Stick, 4120 Woodward Ave., Detroit. Doors at 9 p.m. 313-833-9700 or themajesticdetroit.com.

• Techno legend Kevin Saunderson’s sons Damarii and Dantiez spin at 9 p.m. at El Club, 4114 W. Vernor Highway, Detroit. 313-757-7942 or elclubdetroit.com.

• Virginia’s Pat McGee Band heads to the Mitten for an 8 p.m. show at 20 Front Street in Lake Orion. 248-783-7105 or 20frontstreet.com.

• California dreampop outfit 60 Juno is joined by Vaega at 8 p.m. at the Lager House, 1254 Michigan Ave., Detroit. 313-500-1475 or thelagerhouse.com.

• Detroit singer-songwriter Audra Kubat performs at 7 p.m. for Friday Night Live! at the Detroit Institute of Arts, 5200 Woodward Ave., Detroit. 313-833-7900 or dia.org.

• Hard rock troupes Heavy Lies the Crown and Nothing Ever After join forces at 7:30 p.m. at the Diesel Concert Lounge, 33151 23 Mile Road, Chesterfield Township. 586-933-3503 or dieselconcerts.com.

• The Tartan Terrors bring a Celtic Invasion to town at 7:30 p.m. at the Macomb Center, 44575 Garfield Road, Clinton Township. 586-286-2222 or macombcenter.com.

• Pianist Zen Zedravec is in the house through Saturday, March 7, at the Dirty Dog Jazz Cafe, 97 Kercheval, Grosse Pointe. 313-882-5399 or dirtydogjazz.com.

• Monique Ella Rose brings The Soul Experience to Cliff Bell’s at 7:30 and 9:30 p.m. 2030 Park Ave., Detroit. 313-961-2543 or cliffbells.com.

• Up-and-coming pop singer Ella Red brings her Tour’s Not Real tour to the Pike Room in the Crofoot Complex, 1 S. Saginaw St., Pontiac. Doors at 7 p.m. Peggy opens. 248-858-9333 or thecrofoot.com.

• Troubadour Jason Dennie plays his songs at 7:30 p.m. at the Trinity House Theatre, 38840 W. Six Mile Road, Livonia. 734-436-6302 or trinityhousetheatre.org.

• It’s a Pink Floyd two-fer at Orsa Music Hall this weekend, starting with “The Wall in Concert” at 5:30 p.m., followed by a “The Dark Side of the Moon” show at 8:30 p.m. 350 Madison St., Detroit. 313-887-8500 or musichall.org.

• Tributes to the Cult (Sanctuary) and Stone Temple Pilots (Meat Plow) team up at 8 p.m. at the Token Lounge, 28949 Joy Road, Westland. 734-513-5030 or tokenlounge.com.

• The iconic Judy Collins looks at both sides at 8 p.m. at The Ark, 316 S. Main St., Ann Arbor. 734-761-1800 or theark.org.

• Pianist Ellen Rowe starts the weekend at 5 p.m., followed by sets by Don Hicks & Friends at 7 and 9 p.m., at the Blue Llama Jazz Club, 314 S. First St., Ann Arbor. 734-372-3200 or bluellamaclub.com.

• Virtual: Pigeons Playing Ping Pong serves up at 7:30 p.m. from Sanford, Florida, and again at 8 p.m. Saturday, March 7, from St. Petersburg, both streaming via nugs.net.

• Virtual: The Warren Haynes Band livestreams at 8 p.m. from Port Chester, New York, via nugs.net.

• Virtual: Moe. jams at 8 p.m. from Ardmore, Pennsylvania, and again on Saturday, March 7, via nugs.net.

• Virtual: 311 streams live from Las Vegas at 11 p.m. and again on Saturday, March 7, via veeps.com.

SATURDAY, MARCH 7

• Ontario electronic rocker Lights flips the switch at Saint Andrew’s Hall, 431 E. Congress St., Detroit. Doors at 7 p.m. 313-961-8961 or saintandrewsdetroit.com.

• Detroit Opera finishes its run of “The Handmaid’s Tale,” an adaptation of Margaret Atwood’s 1985 novel, at 7:30 p.m. at the Detroit Opera House, 1526 Broadway St., Detroit. 313-237-7464 or detroitopera.org.

• French DJ and producer Hol! tops a two-stage, 10-act bill at the Russell Industrial Center, 1600 Clay St., Detroit. Doors at 7 p.m. 248-434-7699 or russellindustrialcenter.com and thecrofoot.com.

• Detroit’s own MK presides over the dance party at Lincoln Factory, 1331 Holden St., Detroit. Doors at 9 p.m. paxahau.com.

• Multi-genre trumpeter Chris Botti is on at 8 p.m. at the Orsa Music Hall, 350 Madison St., Detroit. 313-887-8500 or musichall.org.

• Blues-rock veteran Duke Tumatoe & the Power Trio returns for an 8 p.m. show at the Token Lounge, 28949 Joy Road, Westland. 734-513-5030 or tokenlounge.com.

• Eddie and the Getaway arrive at the Loving Touch, 22634 Woodward Ave., Ferndale. Doors at 7 p.m. 248-820-5596 or thelovingtouchferndale.com.

• Drum Tao brings ancient Japanese drum art at 7:30 p.m. to the Macomb Center, 44575 Garfield Road, Clinton Township. 586-286-2222 or macombcenter.com.

• Flint’s Shadow of the Talisman tops a seven-band bill at 5:30 p.m. at the Sanctuary Detroit, 2932 Caniff, Hamtramck. 313-462-4117 or sanctuarydetroit.com.

• The Atlanta quintet Penelope Road comes north for a show at El Club, 4114 W. Vernor Highway, Detroit. Doors at 7 p.m. 313-757-7942 or elclubdetroit.com.

• Saxophonist Alex Harding & Organ Nation blow at 7:30 and 9:30 p.m., and again at 5:30 and 7:30 p.m. on Sunday, March 8, at Cliff Bell’s, 2030 Park Ave., Detroit. 313-961-2543 or cliffbells.com.

• Kourgaran, Faded and Second Salem are among the bands playing for Detroit Rock City Mayhem 5 at the Diesel Concert Lounge, 33151 23 Mile Road, Chesterfield Township. Doors at 7 p.m. 586-933-3503 or dieselconcerts.com.

• Jasno comes from the Upper Peninsula to rock at 8 p.m. at the Lager House, 1254 Michigan Ave., Detroit. Mild Pulp and Odd Reality are also on the bill. 313-500-1475 or thelagerhouse.com.

• The Mega 80’s play that decade’s hits at the Magic Bag, 22920 Woodward Ave., Ferndale. Doors at 7 p.m. 248-544-1991 or themagicbag.com.

• Floyd Live — America’s Pink Floyd Experience will make you wish you were there at the Emerald Theatre, 31 N. Walnut St., Mount Clemens. Doors at 7 p.m. 586-630-0120 or theemeraldtheatre.com.

• The Cadieux Cafe hosts the Before The Flood: A Bob Dylan Revue at 8:30 p.m. 4300 Cadieux Road, Detroit. 313-882-8560 or cadieuxcafe.com.

• Global singer Tatiana Eva-Marie headlines at 7 and 9 p.m. at the Blue Llama Jazz Club, 314 S. First St., Ann Arbor. 734-372-3200 or bluellamaclub.com.

• Virtual: Rainbow Kitten Surprise livestreams at 8 p.m. from New Haven, Connecticut, via nugs.net.

• Virtual: Gorillaz celebrates its new album, “The Mountain,” as the musical guest on this week’s episode of NBC’s “Saturday Night Live” at 11:30 p.m. (WDIV, Channel 4 in Detroit). Ryan Gosling hosts.

SUNDAY, MARCH 8

• Riki Rachtman, former host of MTV’s “Headbangers Ball,” presides over an evening at District 142, 142 Maple St., Wyandotte. Doors at 8 p.m. district142live.com.

• Iranian-American rap and rock stylist Aries promotes his latest album, “Glass Jaw,” at Saint Andrew’s Hall, 431 E. Congress St., Detroit. Doors at 7 p.m. 313-961-8961 or saintandrewsdetroit.com.

• Grizz CLL brings his gothy darkwave to the Lager House at 8 p.m. 1254 Michigan Ave., Detroit. Tiffadelice and Vazum open. 313-500-1475 or thelagerhouse.com.

• Florida’s Capstan celebrates the 10-year anniversary of its “Cultural Divide” album at 6 p.m. at El Club, 4114 W. Vernor Highway, Detroit. 313-757-7942 or elclubdetroit.com.

• Cleveland’s Inoculation brings its brand of death metal to Sanctuary Detroit, 2932 Caniff, Hamtramck. Doors at 6 p.m. 313-462-4117 or sanctuarydetroit.com.

• The Macomb Symphony Orchestra plays Dvorak, Elgar and Britten at 3 p.m. at the Macomb Center, 44575 Garfield Road, Clinton Township. 586-286-2222 or macombcenter.com.

• The C-Notes play a 3 p.m. matinee at the Cadieux Cafe, 4300 Cadieux Road, Detroit. 313-882-8560 or cadieuxcafe.com.

• Alejandro Escovedo brings a long career of music as well as his latest album, “Echo Dancing,” to the Ark for a 7:30 p.m. show. 316 S. Main St., Ann Arbor. 734-761-1800 or theark.org.

• Trumpeter Anthony Stanco and his Quintet perform at 6 and 7:30 p.m. at the Blue Llama Jazz Club, 314 S. First St., Ann Arbor. 734-372-3200 or bluellamaclub.com.

• Virtual: Harry Styles’ “One Night in Manchester” concert, held March 6 to launch his new album “Kiss All the Time. Disco, Occasionally,” will stream beginning at noon on Netflix.

By J.M. HIRSCH

MIAMI (AP) — Rachael Ray isn’t sick. Her marriage is healthy, too. And yes, she’s still on TV.

Rumors have swirled around the woman who gave us 30-minute meals since she stepped away from her daily show. But that hasn’t diminished her thrill at rolling through her mid-50s still cooking on television and still pulling crowds for beachside burger parties.

Welcome to Ray’s third act, the recipe for which is equal parts serendipity and returning to her hands-in-pans roots.

Three years ago, the woman who turned culinary effervescence, EVOO and garbage bowls into a media empire stepped away from the Food Network and her syndicated daytime talk show. Today, she acknowledges, “It can be hard to find me.”

Ray sat down with the AP recently during a break from events at the South Beach Wine & Food Festival to talk about what’s next, what keeps her going and why she doesn’t care about her legacy.

“I’ll be dead, so who cares?” She said that a lot, actually. About her critics. About the gossip. About whether people today get her and her decisions.

Except, clearly she does care. Particularly about the thread common to it all — giving people kitchen confidence. She once described her cooking as the food equivalent of a pop song. Which sounds flip. But when your entire career is built around breaking barriers to food, the easy digestibility of pop is an apt analogy.

“That was the message I wanted to bring to people. Don’t be scared of this,” she said. “If it doesn’t come out all right, who cares? It’s just dinner.”

From store demos to TV celebrity

The story of Ray’s rise is well-trod. Young woman from upstate New York gets noticed while doing food demos at an upscale grocery store, lands a gig on the Food Network demystifying cooking with a focus on fast and affordable, parlays that into a daytime show backed by Oprah Winfrey, and in short order she and her rat-a-tat Yum-o!-punctuated vernacular — not to mention her knives, books, pans, magazine, pet food and all manner of other products — were ubiquitous.

Then, in 2023 — after 17 seasons on daytime TV — she jarred fans by walking away from much of it, a decision she’d been quietly considering for years. Network television brought with it armies of executives and lawyers.

“I just didn’t want to do that anymore. I didn’t want to live by committee,” she said. “I wanted to focus more on food the way I want to teach it, talking to people I want to talk to, and being just me.”

Stepping out of the limelight

To many, she seemed to slow down or even disappear. After fire destroyed her home in upstate New York and flooding ruined her city apartment, she moved much of her life to Italy. A podcast was started, then quietly shuttered. All amid rumors of failing health and marriage.

Moved under the radar might be more accurate than slowed down. But let’s start with the gossip.

“We’re very volatile people. We’re loud, and then we’re lovey dovey, and I think we confuse a lot of folks because of that,” she said of her marriage to musician and lawyer John Cusimano. “I have a great marriage. My health is fine. I lift weights every morning, 4 o’clock, you know. I’m doing just fine.”

As for slowing down?

After ending her daytime show — the only thing she misses is the energy of the live audience — she created her own production company, Free Food Studios, an effort to control her content (sans layers of lawyers) and launch new talent. A&E soon acquired a 50% stake in it and ordered hundreds of episodes, including several new series starring Ray.

“People tell me on the plane or at the airport or at the grocery store, ‘Oh, I miss your show so much!’ And I’m like, I have many! You know, look on YouTube or look at A&E or look at Disney or Hulu,” she said. “It rotates through all these different platforms now, so it’s harder for people to find.”

In fact, her “Meals in Minutes” recently was renewed for more than 100 new episodes, and she’s producing two additional shows with other stars. Meanwhile, she’s planning an eighth humanitarian trip to Ukraine — she’s been collaborating on them with José Andrés since early in the war — recently launched her own gin, and still sells plenty of pots and pans and pet foods, the latter of which helps fund The Rachael Ray Foundation, which has donated $140 million to animal welfare and nutritional advocacy groups.

Crashing the chefs’ A-list

Today, culinary pedigrees among food celebrities are few and far between, making the early critiques of Ray — She’s not a serious cook! She’s not a chef! — seem quaint, sexist, maybe both. She’s thankful social media has lowered the bar for entry to her world, saying fresh faces no longer need money, connections, a culinary degree or blind luck to get noticed.

What hasn’t changed is the way aging women are judged, particularly when they have the audacity to do so as a public figure. Her appearance has been a hot topic in recent years, but Ray said she refuses to join the beauty bandwagon. “I tried Botox here (pointing at her eyebrows) years ago,” she said. “And I just looked sort of shocked or something. And I thought, this isn’t you.”

At this year’s South Beach festival’s Burger Bash, which Ray has hosted for two decades — consuming some 568 burgers over the years, but who’s counting? — crowds swarmed her with stories of growing up on her recipes and shows. At a private dinner the next night, 20-plus people paid $500 each to clamor as she served pasta alle vongole and told family stories while Cusimano mixed cocktails.

“Honey! I’m talking too much! This got hot!” Ray said, handing him a Martinez cocktail to refresh. “I don’t drink a hot cocktail. I almost never drink the second half of my cocktail.” The crowd of mostly middle-aged women nodded enthusiastically, clearly adopting a new Ray-endorsed rule to foist on their own spouses.

“I love the fact that it’s still relevant that I come here,” Ray said. “I’m a woman in her mid-50s that’s still employed, still making programming, and still can book an event and have thousands of people come out. That means a lot to me.”

What comes next?

“I like not knowing,” she said. “I like watching things evolve and discovering what’s next for myself. So there’s no plan. There’s no road map.”

J.M. Hirsch is a food and travel journalist, and the former food editor for The Associated Press.

Bad Omens’ latest road trek is dubbed the Do You Feel Love Tour, after a refrain from the show-opening “Specter.”

And rest assured there was plenty of affection for the Virginia-formed heavy rock band from a packed Little Caesars Arena on Saturday night, Feb. 28.

Much has happened for the quartet since it first played in the metro area 10 years ago (almost to the day) at the Crofoot Ballroom in Pontiac. Back then it had just a couple of singles behind it, with its first album still six months away. Now Bad Omens is an undeniable global headliner and leader in its genre, with an aggregated fusion of styles — metal, metalcore, emo, ambient — that hits hard but is still mindful of melodies.

Bolstered by plenty of pre-recorded backing tracks, Bad Omens certainly had its share of high-octane bangers such as “Limits,” “Nowhere to Go,” “Artificial Suicide” and “Anything > Human.” But, along with Saturday’s show openers Beartooth and England’s entertainingly mysterious President, it applied a dynamic sensibility that keeps fans on their toes — moshing, crowd-surfing and even dancing to electro-fused songs like “V.A.N.,” “What Do You Want From Me” and the epic “Impose,” the latter one of four 2025 singles that vaulted the group’s popularity even further.

Bad Omens certainly greeted its moment visually as well. Saturday’s 90-minute show delivered an ample amount of spectacle, with 14 angled LED screens above the stage and three more on the sides and behind the band, as well as lasers, smoke jets and enough fire to melt the hockey ice beneath the arena’s seats. There was even a “plot” as five cryptic messages — portrayed with an old school cassette recorder on the screens — between the 18 songs; the contents were largely lost on the crowd but definitely provided a sense of drama that set up each set of ensuing songs.

And despite frontman Noah Sebastian’s assertion that he was “extra nervous” on Saturday, the group’s performance was spot-on, the live and synchronized elements synced tightly together, and with the special effects that accompanied every song. (He also noted that drummer Nick Folio had worked for Little Caesars Pizza for “about two weeks” before one of Bad Omens’ tours.) Confetti rained over the general admission floor during “Impose,” while the encore “Concrete Jungle”/”Dethrone” closed the night like an aural sledgehammer.

Saturday’s other acts teed things up nicely for Bad Omens, deploying much of the same kind of sonic synthesis. Bearthooth’s fifty minutes was driven by frontman Caleb Shomo’s physical charisma and infectious enthusiasm (not to mention wisdom in not mentioning the band’s hometown of Columbus, Ohio — never a great selling point in Michigan). And President made good on the intrigue surrounding it; nobody knows who the masked troupe — with monikers such as The President, Heist, Protest and Vice — really is, but that’s only added to the intrigue and its half-hour Detroit debut was certainly strong enough to bring fans back for more.

President also finished with a late-set, recorded message that, “We came to build a movement, a sound, a future” — a sentiment that rang true for all three bands on Saturday. And in their collective hands, that future seems undeniably solid.

By Michael Ordoña, Los Angeles Times

LOS ANGELES — Some of this year’s Oscar-nominated documentary shorts hit so hard, viewers may be grateful to come across one that simply follows donkeys visiting an observatory in the desert — even if it bumps up against the very boundaries of the genre.

‘All the Empty Rooms’

Director Joshua Seftel hadn’t spoken with his former colleague, longtime CBS News correspondent Steve Hartman, in 25 years. Then Hartman, famed for stories of human kindness and compassion, reached out: He and photojournalist Lou Bopp had been documenting bedrooms left behind by children killed in American school shootings.

“I said to him, ‘This could be a great film,’” says Seftel, though Hartman asked not to be in it. “I said, ‘You are the “Good News Guy” and people trust you. If the Good News Guy is telling you he’s got some bad news, people are going to listen.’ ”

The rooms provide silent testament to those who once lived there. One is festooned in SpongeBob memorabilia; another contains the rack on which a girl would arrange her outfits for the week.

“You meet these families and hear the stories and there’s a heaviness” in the rooms, says Seftel. He says he could see them weigh on Bopp and Hartman. A filmmaker friend, on seeing the film, told Seftel, “Steve Hartman is a haunted man.”

‘Armed Only With a Camera: The Life and Death of Brent Renaud’

Brent Renaud and his brother, Craig, made documentaries in Haiti, Egypt, Iraq and other hot spots, and won awards for their portrait of a troubled Chicago school. Then, while covering the war in Ukraine, Brent was killed by Russian soldiers.

“For Brent, it was always a focus on people caught in the middle of conflicts,” says Craig Renaud. “Going back to the front lines over and over again, we often had to be on the ground for months at a time in these war zones.”

Included in the clips of Brent Renaud’s work: a weeping Iraqi woman clutching the bloody jeans of her slain son; Renaud interviewing a Honduran boy embarking on the hazardous trek to the U.S. on his own; and a Somali man telling Renaud, “The way you hold the camera, you’re doing it from your heart.”

It also includes casual mention of his diagnosis as neurodivergent.

“He’s calm as a monk in a firefight,” Craig Renaud says, “but a cocktail party in Brooklyn is absolutely terrifying.”

‘Children No More: Were and Are Gone’

In Tel Aviv, a group of Israeli protesters stands silently, holding posters emblazoned with the faces of Palestinian children who have been killed in Gaza by the Israeli military.

“They didn’t choose to be part of this war,” says Israeli filmmaker Hilla Medalia. “They were killed not because they brought it on themselves, but because someone decided they needed to die.”

Medalia’s film follows activists whose silent vigils draw both support and condemnation. So far, despite sometimes having to abandon their protests when situations become potentially threatening, they remain undaunted.

“Their focus is to stop the war and this war crime and other things that are happening in our name, and to force the general public to confront those images and to look at the kids and to feel for them,” Medalia says. “It’s amazing to me how humanity and compassion become an act of resistance.”

‘The Devil Is Busy’

At a women’s health clinic in Atlanta, a typical day includes religious protesters on megaphones (“All men,” points out co-director Geeta Gandbhir) and women seeking help only to discover their pregnancies are just past the six-week mark, making terminating them illegal in Georgia.

“We decided to focus on the providers,” says Gandbhir. “They’re putting themselves at risk to provide care. What you see are the hurdles they face.”

Co-director Christalyn Hampton says the burdens on these independent clinics have drastically increased as about 50 Planned Parenthood sites closed last year. She points out the spectrum of healthcare provided and the complexity of situations for both patients, many of whom must travel considerable distances, and providers.

“When the technician is giving the young lady a sonogram, the [patient] goes through several emotions: She’s happy, she’s crying, she’s nervous. That speaks to the vulnerability these women feel when they have to make certain decisions. That emotional moment [reminds us] of that human aspect.”

‘Perfectly a Strangeness’

A trio of donkeys traverses a desert to an observatory. Captured with creative camera angles and accompanied by an imaginative score, Alison McAlpine’s film pushes the boundaries of what documentaries are.

While shooting her previous feature in Chile, McAlpine noticed donkeys hanging out around an observatory. “We hired three gentle donkeys [for the film]. It was a combination of trying to direct the donkeys up from the valley to the observatory, and sometimes we just followed the donkeys.”

McAlpine acknowledges that her film has been difficult to categorize. “Sometimes it’s at IDFA, which is an international documentary festival. Sometimes it’s just competing with fiction, where it’s been lucky to win awards sometimes. But what is a documentary? As soon as you put on a lens and a frame, it’s a personal document, not something objective.

“I’ve been moved because people have been touched; they seem to be transported elsewhere, which is what one wants as a filmmaker.”

©2026 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

By Malia Mendez, Los Angeles Times

According to relationship scientist Paul Eastwick, online dating is a market where there are dramatic winners and losers. “I think our modern existence happens to pull from modes of interaction that really amp up the importance of mate value,” Eastwick said. “But it does not have to be this way, and for a long time, it was not this way.”

This is the genesis of Eastwick’s decades-long research about how people initiate and maintain close relationships. His new book “Bonded by Evolution: The New Science of Love and Connection” argues against evolutionary psychology’s philosophy of dating and relationships — debunking ideas like money matters most to women, looks matter most to men and everyone has an inherent objective “mate value.” In his work, the University of California Davis psychology professor offers a dating and relationships alternative in which compatibility trumps all.

Since the dawn of his career, Eastwick has had more than one bone to pick with evolutionary psychology.

The theoretical approach, which studies human behavior, cognition and emotions as products of natural selection, depicts relationship formation as sales-like, highly gendered and strategy-based. That model, which Eastwick calls the “EvoScript,” has never squared with his view of close relationships.

The researcher has long viewed the EvoScript as outdated and exaggerated if not completely incorrect. But it was only a few years ago, when online communities of so-called incels started latching onto evolutionary psychology’s story of close relationships that he began to see the EvoScript as dangerous.

“It was upon realizing that there’s this fun house mirror version of [evolutionary] psych out there that I was like, I think it’s time,” Eastwick said. “There was a wake-up call for me that, we need a scientific book out there that’s going to bring the most contemporary science to people.”

In his work, Eastwick argues that desirability is subjective and unpredictable — and that all anyone really wants is a secure attachment bond that sustains them through good and bad seasons.

The Times talked to Eastwick about how to reimagine the dating “numbers game,” tips for better dates and why men and women ultimately want the same thing.

This interview has been condensed and edited for clarity.

You write in your book that “online dating can bring the worst parts of dating to the fore by exaggerating gender differences and making you feel like a clearance item at the bottom of the bin.” What are the long-term and short-term psychological effects of that on people as they go through their dating lives?

“It makes dating feel a little bit like a job, like you’re making sales pitches, and you can set your sights high, but ultimately you’re going to have to settle. It makes the whole thing feel like you’re trying to get a deal, and I just think these are bad metaphors, especially if we want to be happy in the long run. But there is a slow burn approach that feels more like finding connection, opening oneself up, spending time getting to know other people sometimes just for the sake of getting to know other people. Part of what I want to do in the book is remind people that there are other ways — and those other ways also happen to be more democratic, for lack of a better word there — that pull for more idiosyncrasy and give more people a chance to find partners that will really appeal to them.

If you’re trying to tackle the EvoScript, as you call it, what is your thesis about dating?

My thesis is that, if we want to think about the nature of human relationships, how did people evolve to form close relationships, I would describe it as a search for compatibility in small groups. What people classically have looked for and what classically makes for the best, most satisfying pairings are finding and building something compatible with another person from a pretty limited range of options.

OK , so I need to meet people in person. I need to make friend groups. Where do you go to do that now, when things are expensive and a lot of life is online?

For somebody who’s heterosexual, if you’re a woman, it’s like, “OK, where am I gonna meet guys? Where are the guys out there?” Don’t worry if the guys are going to be there, because oftentimes when people meet partners, it’s like, friends of friends of friends, right? It’s all making connections. Maybe it’s sports, maybe it’s activities, maybe it’s a cooking class, maybe it’s a dancing class. Maybe it’s just calling back up the people from your last job that you haven’t seen in a while, getting together over drinks and making it a regular thing. I get it, people are really busy, and everything online is a draw. But the importance of hanging out with people in person, those loose acquaintances, that’s where so much of the magic happens.

People talk a lot about how it’s just a numbers game: You have to go on more dates, you have to swipe on more people. What’s your response to that?

It is a numbers game, but maybe, let’s think about the numbers like this. Rather than numbers of people, it’s numbers of interactions. So you could meet 12 people one time, or you could meet three people four times. I choose the second one, right? Meet fewer people more times. We’re still talking about numbers. We’re still talking about how much time you’re out there interacting with people, figuring out whether you click. But 20-minute coffee dates really pull for a snap judgment. In a perfect world, swiping right on somebody would mean I’m going to do a coffee date with you, and then we’re going to go to some interactive class, and then we’re going to go to a concert and I’m going to spend time with you in all three settings and kind of see how that goes in total and then assess it. So it’s not that the numbers game is misguided, you do have to get out there and try different things, but we often think, “Oh, I can just sample people really briefly, and eventually I’ll get lucky.” The smaller those samples are, the more painful this whole thing gets.

Coffee dates feel like interviews to me. But from a scientific standpoint, why do you recommend an activity-based date over the classic coffee date?

The best evidence that we have for what can you do to make yourself more appealing to someone is not to share your CV and impress them with those details. Do something that reveals a little bit about who you are, how you interact, how you relate to the world, and, best of all, something a little bit vulnerable about yourself. The 36 Questions test, sometimes called the Fast Friends procedure, is truly the best tool we have. Within an hour or two of something interactive, people have gotten to the point where they’re willing to talk about things that they regret, or things that they really like about the other person that they’ve just gotten to know. And this is all in that Fast Friends procedure. So when I think about people doing activities where their attention isn’t just on interview mode, it’s like, “Oh, we’re tackling something together,” it really decreases that self-promotion instinct, which is usually misguided.

In your book, you call compatibility “curated, cultivated and constructed.” Does that mean, to you, that you can theoretically be compatible with anyone?

If you take this idea to its extreme, if you push me, ultimately I land on probably. And of all the things I say that people are going to be resistant to, I think that’s the one that people are like, “No.” Again, I go back to the people involved in small groups. They made relationships work with the limited number of options that were available, and because we are creatures who engage in motivated reasoning, it is very, very possible to be happy with who you’re with, but that does not mean that people just get to turn off all of the alternatives that exist. I think the best way to think about it is, I think a lot of pairs have compatibility potential, but I also think that the many decisions along the way matter a lot.

If the idea of romantic destiny is, as you call it in your book, “the weakest idea ever promoted by scientists,” what is your number-one dating myth you feel your personal research has debunked?

That men and women want different things out of partnerships, that they’re either pulling for different traits or look like these totally different entities, I just think the evidence for this is completely wrong. We see differences when you ask men and women, “What do you want in a partner?” But when you look at the attributes that actually matter, it’s really amazing the extent to which men and women are similar. And it’s not to say that there are no differences, like there is a difference in the strength of the sex drive thing. It’s smaller than people say, but it is there. But if you think about, what do men and women want out of a close relationship? What they really want is somebody who’s going to be supportive, is going to celebrate my successes and is going to have my back.

How do people practically apply that in their dating lives?

Refocusing on attachment, I hope that reduces some of the heteropessimism out there in the world. We have arrived at this very bleak view of relations between men and women, like we see the world differently, we’re just always at odds. And boy, when you come at relationships with this attachment frame, and you look at the things that make people happy, men and women can absolutely build beautiful things working together, and they often do. Because we are creatures who attach, there is so much potential for genuine connection over a sustained period of time.

Do you have any predictions for what the future of dating might look like?

It certainly feels like people are getting tired of the apps and that they’re looking for more ways to socialize in person. I think that’s wonderful. I worry about what AI is going to do, like, is that going to feel so real that it causes our interactional muscles to atrophy? That’s the big question mark on the horizon. I’m not here to be grandpa, but I also hope that we don’t totally lose the ability to interact with real people.

©2026 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

By Glenn Whipp, Los Angeles Times

LOS ANGELES — To get to the “Sinners” exhibit on the Warner Bros. Studio Tour, you have to navigate past the backlot’s iconic water tower, cross through the New York Street and then skirt city hall and the fountain from the opening credits of “Friends.” Eventually, you wind up at Stage 48, home of the Central Perk Cafe, a gift shop selling all manner of “Friends” bric-a-brac and offering a smattering of knockoff furniture from Monica’s palatial apartment to enjoy.

Comparatively, the newly installed “Sinners” showcase, featuring costumes and a couple of props, is, to use a real estate agent’s euphemism, “cozy,” certainly smaller than Rachel’s closet. On the night of its opening, “Sinners” production designer Hannah Beachler and cinematographer Autumn Durald Arkapaw are inside sitting on a sofa — not the sofa, but close enough. A few hours ago, they were celebrating with their fellow Oscar nominees at the academy’s annual luncheon.

“She’s a regular,” Arkapaw says, her arm around Beachler, who won an Oscar in 2019 for her work on “Black Panther.”

The two women and the rest of the “Sinners” team have been hobnobbing with Oscar and guild voters for months now and talking about their work on the film, which was released in April, for even longer. At the time of this “Sinners” event on the Warner Bros. lot, which included yet another screening of the movie for guild members, the Oscars were still more than a month away.

“I can believe it,” Beachler says. Adds Arkapaw: “Me too. I’m stressing about the stuff they’re having us doing. But I think Teyana Taylor said it best: ‘Don’t be complaining about answered prayers.’”

“Sinners” had a lot of prayers answered when Oscar nominations were announced last month — 16, to be precise.

Now the question is whether that record-breaking haul might be enough to catapult Ryan Coogler’s genre-defying American horror story to a best picture Oscar victory.

When it opened in September, Paul Thomas Anderson’s “One Battle After Another” immediately took the pole position in the best picture race, and it remains the front-runner. But all those “Sinners” Oscar nominations do complicate things. Put it this way: When you submit your movie in 16 different categories and hit in each and every one of them, you have a film boasting broad support across a dozen voting branches. That’s significant.

And if you’re a voter and you weren’t necessarily a fan of the film — or had put off watching it because the horror genre gives you pause — the nominations total does something else. It prompts you to take stock. What is everyone else seeing? Maybe you watch “Sinners” again. Maybe you finally clear the deck and press play for the first time. Perhaps you see that it’s just as much a movie of the moment as “One Battle,” what with the unapologetic, overt racism coming from the White House.

So if you’re on the fence and you do reconsider “Sinners,” maybe it’s not a complete reversal. But it might be enough for you to put the movie higher on your ranked ballot when you vote for best picture.

As you may know, the Academy of Motion Picture Arts and Sciences uses a preferential ballot for the best picture category and only the best picture category. When the academy’s 10,136 voting members mark their ballots this year, they cast a single vote in 23 of the 24 Oscar categories. The nominee with the most votes wins.

For best picture, though, members are instructed to rank the 10 nominated movies. The system, in place since the academy expanded the best picture field from five to 10 nominees in 2009, is designed to reflect the wishes of the greatest number of voters. This means that the winner is sometimes not the movie that is most passionately loved but the picture that is most generally liked — or, if you’re a glass-half-empty kind of person, the picture that is least disliked.

The process works like this: Once voting ends, PricewaterhouseCoopers accountants sort the best picture ballots and place them in stacks based on members’ No. 1 votes. They then eliminate the movie with the fewest first-place votes, giving those votes to each ballot’s second-ranked film. The process continues — smallest stacks eliminated, votes redistributed to the next choice down — until one movie has more than 50% of the vote.

The math to “Sinners” winning best picture necessitates it being the No. 1, 2 or 3 choice on more ballots than “One Battle After Another.” And that plays into what a couple of awards consultants told me about the psychological effect the movie’s record-breaking 16 nominations might have on voters when they rank the nominated movies.

“Maybe it’s not your favorite, but you still rank it high because of that overwhelming level of respect,” says one rival campaigner. “Who knows if the math adds up. But at this point in the season, you’re looking for any advantage you can find.”

A test of that math will come Saturday at the Producers Guild Awards, a ceremony that uses the same preferential ballot system to determine its best picture. The PGA winner more often than not repeats at the Oscars, though in the last decade there have been two notable exceptions — “Moonlight” besting PGA winner “La La Land” in 2017 and, three years later, “Parasite” taking the Oscar over “1917.”

Should “Sinners” prevail at the PGA and then the next night go on to win the cast prize at the Actor Awards (formerly known as the Screen Actors Guild Awards), then the race will be dramatically recast. Both ceremonies take place in the middle of the window of final voting for the Oscars, which runs Feb. 26 through March 5.

“It’s a miracle that we were all nominated,” Beachler says. “That’s rare for everyone to get that recognition.”

For a film with a hero named Preacher Boy, one last miracle certainly isn’t out of the question. And if the last few months have taught us anything, it’s that you underestimate “Sinners” at your peril.

©2026 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

By J.M. HIRSCH, Associated Press

MIAMI (AP) — For nearly 10 years running, Lesley VanNess never missed the South Beach Wine & Food Festival, a beachfront bacchanal of celebrities, booze and bites that tens of thousands of attendees pay hundreds to thousands of dollars to join.

It was about access, the chance to nosh and gab with the likes of Rachael Ray and Bobby Flay, people she otherwise could experience only via the hands-in-pans purview of the Food Network.

“I’d get the Food Network Magazine and there would be advertisements for it. I’m like, ‘0h my god! You could go to that? Go to these great events and meet these celebrity chefs?’,” said VanNess, a 44-year-old former restaurant owner from Iowa. “I’m in!”

That was during the food festival heyday, a decade-long stretch starting around 2010 when copycat events popped up everywhere, creating a circuit-like scene for A-list chefs (and ample wannabes).

Then came social media, a force that melted barriers between fans and food celebs. People like VanNess realized that instead of crowding into football field-size tents to chance a chat with Flay, they could just DM him.

Or better yet, they could tune in to online #instafood chatter to perhaps discover the next Ray or Flay, a whole new level of social cred unlocked.

VanNess hasn’t been back to South Beach since at least 2020. “I’d rather see them on social media or go to their restaurant,” she said.

What chefs and foodies want

Last weekend, the South Beach Wine & Food Festival turned 25, cementing it as one of the elders of the festival scene, along with its sister event, the New York City Wine & Food Festival, and the Food & Wine Classic in Aspen, Colorado. By all accounts, all three are going strong. But many smaller festivals have disappeared, victims of the pandemic, slumping ticket sales, soaring food and labor costs, and chef disinterest.

So, are food festivals still relevant?

“South Beach and New York, they fill a niche and I can see them going on forever. But food events and food festivals are going in a whole other direction,” said Mike Thelin, one of the founders of the now shuttered Oregon festival Feast Portland.

Festivals’ success long hinged on the need of chefs, wineries, mixologists, food producers, and what only now are known as food influencers to reach a wider audience. In 2026, that’s an antiquated notion.

“In 2010, they wanted to get on the map,” Thelin said. “They don’t need that anymore.”

Seeking that local connection

That doesn’t mean festivals are dead. There’s a recalibration happening, he explained. What many call “white tent affairs,” a not-so-subtle nod to South Beach’s events that stretch along the sands of the Atlantic, are fading.

“If I’m going to a certain region, I want to know what makes that region special,” Thelin said. “I don’t want to go into a giant white tent that’s devoid of geography and drink a bunch of wines from California if I’m in Washington or Tennessee.”

Taking their place? A host of small, hyper-focused events grounded in people and place. Events like AAPI Food & Wine, a 3-year-old Oregon and New York City-based festival that highlights the work of Asian Americans and Pacific Islanders.

“The foodie scene has changed so much,” said Lois Cho, one of the founders of that event, which draws about 1,000 attendees a year. “People didn’t realize wine and black bean noodles and izakaya and all these different Thai dishes — they had no idea they paired. Creating a different narrative and community where you can connect with people, those are the types of events we’ll see now.”

Social media, she said, unlocked so many overlooked voices.

“And a lot of people haven’t caught on because it’s been a lot of cookie-cutter events for the last 20 years,” she said.

It’s been a similar story for the Southbound Food Festival, which celebrates the culinary scene of Birmingham, Alabama. Started in 2022 and stretching over a week every fall, the event pulls support not just from chefs, but also the region’s art and music scenes.

“There’s less appeal today with these TV chefs. Great chefs are everywhere,” said Nancy Hopkins, one of the event’s founders. “People come to celebrate and uplift Birmingham.”

The OG festivals still draw crowds

Still, as Thelin said, the South Beach Wine & Food Festival and it’s New York sibling aren’t going anywhere anytime soon, white tents, Food Network faces and all. Tickets to nearly all of South Beach’s 110 events, which featured 500-plus chefs and food personalities, sold out this year. In its quarter century, the festival has raised more than $45 million for the Florida International University Chaplin School of Hospitality and Tourism Management.

Lee Schrager, the force behind the two festivals, said the South Beach blueprint remains relevant today.

“There’s something very different about DM’ing Bobby Flay than going to an intimate dinner at a table of 10 that he’s doing that’s sold out in three days,” Schrager said. “Social media has made everyone available, but can you touch and feel it?”

The first South Beach event, attended by only 10 chefs, was little more than a wine tasting. This year, more than 30,000 people attended. Martha Stewart hosted a luncheon at Joe’s Stone Crab, Italian celebrity butcher Dario Cecchini tossed slabs of beef into an eager dinner crowd, and Ray reprised her Burger Bash, where everything from Kool-Aid pickles to foie gras adorned smashed wagyu patties on potato buns.

Schrager acknowledged that most smaller festivals can’t operate the way his do, including hosting events he knows will sell tickets even if they ultimately lose money. He said he sold $7 million in tickets this year and brought in $6 million in sponsorships — and netted just a little over $1 million.

“It’s a good number in the festival world, but it’s not a great return if you’re running a profit business,” he said.

Ray, who has participated in nearly every South Beach and New York festival, continues to show up. It’s about loyalty to Schrager, who took her seriously when much of the food world didn’t. But it’s also about in-person access to fans.

“I love talking to people, being with people, having people climb all over you, hang on you, give you a compliment,” she said. “I love being in the real-life experience.”

J.M. Hirsch is a food and travel journalist, and the former food editor for The Associated Press.

Matthew Nix had driven past the brewery in Sauganash for years, but — not much of a weekday drinker — had never stopped in.

When he finally decided to meet friends at the taproom on a recent Saturday to play some cards, he found bartenders dancing on countertops, dogs wearing sweaters and the last of the beer draining from the tap. It was the farewell party for Alarmist Brewing.

“This is my first time here, first and obviously last,” said Nix, 36, a high school teacher living in the Edgewater neighborhood, about the closure.

In Illinois and across the country, breweries have been struggling as consumers seek healthier drinking habits or have a wider range of options, such as THC-infused drinks, as business costs continue to rise. Many have closed their doors, while others have redefined its meaning as a social space that offers beverage variety and events.

In Chicago alone, a handful of breweries have closed or consolidated in recent years, including Metropolitan Brewing, Revolution Brewing Brewpub and Lo Rez Brewing and Taproom. 

The number of U.S breweries closing outpaced those that opened for the second year in a row in 2025 for a net loss of 179 last year, according to preliminary 2025 data from Brewers Association, a trade group for small American brewers.

It stands in stark contrast from a decade ago — a golden age — for craft brewers when the number of breweries opening was about 10 times higher than those closing, according to Matt Gacioch, staff economist at Brewers Association.

One industry challenge is that Americans are now drinking less. A 2025 Gallup poll showed that only 54% of U.S. adults said they consume alcohol — the lowest percentage in 90 years. 

Figures are even lower among young adults with only 50% reporting that they drink alcohol. These numbers fall in line with healthier drinking trends like “sober curious” and “Dry January,” which seek mindful and moderate drinking.

On top of drinking less, consumers are also seeking wider beverage options from nonalcoholic drinks to hard seltzers, which adds pressure for traditional craft breweries specializing in beer.

Sports and music arena United Center is expected to start selling THC-infused drinks Señorita and Rythm at its stands this month — apparently the largest U.S. arena to do so. 

“Bringing Señorita and Rythm to the United Center reflects a simple truth: Consumers want nonalcoholic options, and leading venues are responding,” Ben Kovler, Rythm, Inc. chairman and interim CEO, said in a statement last month.

Other music venues that sell cannabis-derived drinks are the Salt Shed, Riviera, Ramova Theatre and Thalia Hall, taking up coveted beverage shelf space.

“There’s just so much more competition in terms of consumer attention and physical retail space,” Gacioch said. “There’s this whole world of other options.” 

Rising business expenses and the cost of goods like aluminum have also contributed to the strain, particularly after the pandemic.

“You have the increased cost of just about everything,” said Andrew Heritage, chief economist at the Beer Institute, noting the increase in operating costs, rent and labor. 

Some Chicago breweries were unable to recover, with Lo Rez Brewing in the Pilsen neighborhood closing its doors in 2023 in what cofounder Dave Dahl called a “pandemic casualty.” Another staple in the craft industry, Metropolitan Brewing, one of Chicago’s oldest, closed in 2023 after filing for Chapter 11 bankruptcy.

Most recently, award-winning Alarmist Brewing closed on Feb. 1 after years of struggling with falling business after the pandemic.

“The bottom line is we’re just not selling,” said Alarmist owner Gary Gulley. “It just never recovered since COVID.”

Illinois lost over 30 breweries in two years after 2020, falling to 218 total breweries, according to data from the Beer Institute. By 2024, the number of Illinois breweries rebounded to 251.

Some breweries have adapted to create third spaces, a place to mingle and play trivia with friends — and pups.

“I like a place where you can bring your dog, you can bring a book,” Nix said, likening these breweries to social spaces where you can play card games. 

One brewery that has been bolstering events and activities is Maplewood Brewery and Distillery in the Logan Square neighborhood. The decade-old brewery holds events like its upcoming Pulaski Day Party to celebrate its Pulaski pilsner, trivia nights and beer festivals to cultivate brand loyalty.

“We have our core brand that we make, but we’re always coming out with something new and fun … that’s helped us out,” said Paul Megalis, co-owner and CFO of Maplewood Brewery.

Their expansive beverage options include ready-to-drink rum punch cocktails, in-house coffee liqueurs for espresso martini lovers and seasonal beer concoctions. 

“We’ve essentially been a beverage company since Day 1, and so we’ve always had a diversified portfolio. I mean, we just hustle,” Megalis said.

They plan to open a second location in Glen Ellyn slated for this spring.

Despite the changing tides in the craft beer business, experts believe craft breweries are evolving not disappearing.

“Craft beer industry is nothing if not creative,” Gacioch said.

By MARK KENNEDY

NEW YORK (AP) — Early in the first episode of the “Scrubs” revival, Dr. John Dorian jumps onto Dr. Christopher Turk for a piggyback ride down the corridor of Sacred Heart Hospital like nothing’s changed in over a decade. But a lot has.

For one, Turk, now a father of four, suffers from sciatica, cutting the tomfoolery short as they tumble to the ground. And, two, Dorian needs reading glasses. Turns out plenty has changed in the 17 years since “Scrubs” last ended its run.

“They’re still 12 years old every time they’re together, but they’re also still both leading very big, responsible adult lives,” says Bill Lawrence, the show’s creator who has returned for the revival. “It just felt like it was time to revisit the old gang.”

“Scrubs” — whose first two episodes premiere back-to-back Wednesday on ABC and stream next day on Hulu — picks up with the same characters all these years later, but this time, in addition to some physical wear and tear, the onetime interns are the teachers to a group of rookie doctors.

“We were new and we were scared as interns and scared in this new element of medicine and insecure and unsure of what we were doing,” says Sarah Chalke, who plays Dr. Elliot Reid. “So to get to come back, we really have grown and really become great leaders and great teachers.”

Back to reality for ‘Scrubs’

The revival retains Lawrence’s voice for “Scrubs” — pop culture-hyper-aware and surreal but always with sentiment. The cast admits the show became a little too cartoonish in later seasons, with an ostrich wearing a Kangol hat and J.D. stuffed into a backpack to sneak into a movie theater.

“Bill Lawrence would be the first to say that what he really wanted to do was sort of ground it again and start back with the based-in-reality thing that we had in the first couple years of the show,” says Zach Braff, who plays Dr. Dorian. “We still have a mix of drama and comedy, but reset to based completely in reality.”

One thing that had to change was Dr. Perry Cox, the head of medicine played by John C. McGinley with stone-faced rage and fiery contempt. Back in the old days, he could humiliate and berate his interns.

That won’t fly in 2026: “I can’t work them crazy hours or even abuse them anymore,” Cox complains in the revival, calling the new interns “fragile little Christmas ornaments.” One of the new interns says to him: “You’re giving mean football coach vibes.”

Lawrence in anticipation of the relaunch consulted medical residents to find out how hospitals and medicine had changed over the years and was told that administrators would have no patience with a brutal Cox in 2026.

“All the residents we talked about told us that Dr. Cox would be fired immediately nowadays,” says Lawrence. He also added Vanessa Bayer to the cast, playing an HR officer quick to suggest sensitivity training.

The second stage of life

The first seven seasons of “Scrubs” originally aired on NBC, but after Season 7 — which was shortened due to a writers strike — the series moved to ABC for Season 8. A ninth season with J.D., Turk, and Cox was called “Scrubs: Med School.”

Braff and Faison — real friends offscreen — kept the show in fans’ minds with a string of T-Mobile commercials and a podcast that explored the episodes, “Fake Doctors, Real Friends.”

The end of Season 8 — the following season is not considered “Scrubs” canon — had J.D. having all his fantasies come true — marrying Elliot, having children and keeping up his friendship with Turk, who is married to head nurse Carla. That neat bow had to be jettisoned for 2026.

“We knew from the start that we couldn’t live in a world that all of his fantasies had come true,” says Lawrence. “Life throws you some blows and throws you to some victories. You drift from people you care about. Sometimes your world gets smaller. Sometimes things get harder and there still have to be mountains to overcome. So we really wanted to thematically show that journey of what the second stage of life looks like.”

The central bromance of ‘Scrubs’

Central to the success of “Scrubs” is the bromance between J.D. and Turk, which doesn’t end when the cameras are turned off. The revival arrives as the topic of male loneliness and friendship is being debated.

“It’s a half hour comedy, but it takes head on the idea of the joy that you can still find in being silly and having love in your life that isn’t just your romantic love — the joy and love you have with your friends as a man in 2026,” says Braff.

Faison adds: “I value my friendship. I don’t have many of them, but he’s the one friendship that I do have that I know I can count on, at least right now. Maybe in 10 years, he might change his mind on how he feels about me.”

“We’ll see how you behave,” Braff jokes.

Lawrence says he often writes about male friendships because he grew up in a family that wasn’t very demonstrative emotionally. His other current titles include “Shrinking” and “Ted Lasso,” which also explore bonding and mentoring.

“I started very young writing about friendships and, maybe on some level, the wish fulfillment of how personal I truly hoped they could be,” he says. “I crave those friendships and I craved that mentorship so I maybe write about them too much.”

Ten years have passed since Delrhonda Hood’s promise to God. Having made a name for herself in Detroit’s drug game, and having become a legend in the process, her reign in the streets hit a brick wall: In prison for the third time after a 2012 conviction, she contracted an MRSA infection. Combined with another […]

The post Former Detroit drug queenpin turns her past into purpose appeared first on Detroit Metro Times.

WINTER HAVEN – Final preparations are being made inside and outside Galacticoaster, Florida’s newest roller coaster, which is set to open at Legoland Florida theme park this month.

Space-themed Lego models — rotating ride vehicles that are customized by passengers and a next-generation animatronic named Biff Dipper — are prominent parts of the indoor coaster.

Near the entrance is a brick-by-brick and way-bigger-than-life model of Lego set 918, a spaceship introduced in 1979.

It’s “a classic ship, but it’s got some extra flourishes that you only really find in the Legoland park,” says Rosie Brailsford, senior project director for Merlin Magic Making, the creative arm of Merlin Entertainments.

About four years ago, Brailsford was instructed to work with Lego Group to develop an attraction that would work on a global platform, she says.

“They have a line, kind of from the ’70s and various different iterations of that, which is what you will find in Lego Galaxy,” she says. “So, it’s kind of a merge of past and present and opportunity for future iterations as well.”

Brailsford guided the Orlando Sentinel on an exclusive walk-through — no riding yet — of the attraction, which opens to the public Feb. 27.

What’s outside

The new coaster is on the site of the Flying School ride that was closed in August 2023. The exterior queue looks down at the park’s Driving School attraction. There are two entrances, including one from Legoland’s water park.

The spaceship is surrounded by Lego characters, including photo opportunities. The Alien Tourist figure — outfitted in a floral shirt, red shorts, aqua hat and big old-school camera — takes snaps of a green and antennaed alien family. A Duplo play area dubbed Tot Spot and designed for the youngest visitors, includes a Lego Shuttle. (A shade structure is being added.) Nearby are large Lego space flowers and a robot dog.

Early on, potential riders meet Capt. Olivia on screen.

“She’s welcoming you to the Lego Galaxy, telling you about a little snippet of the mission that you’re going to go on,” Brailsford says.

New Super Bowl ad launches Universal Orlando campaign

A large screen televises a 10-minute loop of details about what’s coming up.

“There are little moments of backstory here, so that if you are milling around in the land, you’ve already started to absorb in your subconscious what’s going on,” Brailsford says.

What’s going on? In the Galacticoaster universe, they are bracing for “the asteroid of probable destruction.”

What’s inside

The front lobby features a large blocky version of the Lego Galaxy logo, which is a bit interplanetary and a bit NASA meatball. Below it are actual assembled Lego models on display, some of which are vintage and difficult to find, Brailsford says.

A series of halls and customized posters lead to a big Briefing Room with animatronic Biff Dipper, the chief engineer. He’s about 4 feet tall and standing on an elevated platform. His arms, legs and head move, and his face is animated below the visor of his space helmet. He greets future riders — there can be as many as 80 people in the room — and explains the goal. It’s us versus the asteroid.

“Most of our minifigures in our Legoland are static, smooth minifigures. … Biff is essentially next generation of how we want to do that on a show basis,” Brailsford says. They partnered with Engineered Arts of Cornwall, United Kingdom, to create this figure, which sports 45 facial animations, Legoland says.

Merlin is “working really closely with Lego to make sure all of that motion that they do is true to how a minifigure would move, and we’re not just making them do random things,” she says.

Disney board taps Josh D’Amaro to succeed retiring CEO Bob Iger

Other on-screen characters give ride instructions and advance the storyline of how to deal with that asteroid. Plans A and B (one involving a giant net) were flops, and they need help with Plan C. It involves “separator swarms.”

The room includes interesting visuals such as a blueprint for vehicle options and a sign that reads “Interested in time travel? Meet here last Monday, 2 p.m.”

From here, Biff sends riders into a room where ride vehicle options are selected. Riders pick design features for wings, tail, nose and such. The choices range from practical to fanciful — add-ons such as hamburger wings and disco balls. The console allows 15 seconds for each selection, and then the total look is uploaded onto an RFID-enabled bracelet. There are more than 600 possible combinations.

The idea, we’re told, is to make the spacecraft “so awesome that it grabs the separators’ attention like nothing else.” Also, don’t let them catch you.

Next stop: the Galacticoaster loading bay.

The ride stuff

Passengers navigate a moving sidewalk to the in-real-life vehicles, which seat four passengers across and have lap bars that lower from overhead.

The ride moves into an airlock space, and there “you’ll see yourself in your awesome creation,” Brailsford says. You’ll linger for about 10 seconds, “then you will launch, up to 40 miles an hour, off on your adventure,” she says.

“And you have your kind of save-the-day moment on the ride.”

The Sentinel walk-through did not include a ride-through. Brailsford said the experience is smooth and the launch makes it punchy, probably more intense than the Dragon coaster, its Legoland Florida sister attraction. The height requirement is 36 inches for riders accompanied by an adult. Unaccompanied visitors must be at least 48 inches tall.

“It’s not like terrifying or anything, but being indoors, we do feel like they’ll get a little bit more of that thrill factor as well,” she says. “Because it’s dark, you don’t necessarily quite know where you’re going.”

The spinning is programmed, she said. “It’s not like a free spinning.”

Legoland’s website says to expect “Special effects, synchronized lighting and surprise appearances from classic Lego Space characters.”

Ride time is about 1 minute and 30 seconds, and, per theme park tradition, the exit is through the gift shop (official name: Orbital Outpost).

Another Galacticoaster is under construction that’s set to open March 6 at Legoland California, and, in theory, there could be more. There are also Legoland theme parks in New York, the United Kingdom, Denmark, Germany, Malaysia, Dubai, Japan, South Korea and China.

“We have, like, a base story and land concept that we can adjust and tweak if we were to roll a version of it out,” Brailsford says. “It might not necessarily be this ride. It might be a different ride with another story from the world.”

Email me at dbevil@orlandosentinel.com. BlueSky: @themeparksdb. Threads account: @dbevil. X account: @themeparks. Subscribe to the Theme Park Rangers newsletter at orlandosentinel.com/newsletters.

By JONATHAN LANDRUM Jr., Associated Press

SAN FRANCISCO (AP) — Brandi Carlile isn’t hedging.

When the multi-Grammy winner steps onto the field at Super Bowl to sing “America the Beautiful,” Carlile said she’ll perform fully live — with no prerecorded safety net, embracing the same risk she believes audiences take every day simply by showing up.

“The people deserve to have you live,” Carlile told The Associated Press on Thursday. “They need you to be taking the risk they’re taking every day when they walk out into those streets.”

That decision sets the tone for how Sunday’s pregame performers are approaching one of music’s most technically demanding stages. Some play it safe while others are fully present.

Carlile, who will perform before kickoff along with Charlie Puth and Coco Jones, described preparation that extends beyond rehearsals and sound checks. Having previously performed in large outdoor venues — including Elton John’s final tour date at Dodger Stadium in 2022 — she said singing in an open-air stadium introduces noticeable sound delay, where performers can hear their own voices echo back moments later.

“I’ve been preparing for it more spiritually than technically,” Carlile said. “I want to sing that song as more of a prayer than a boast.”

Performing live at the Super Bowl has long required a careful balance between authenticity and logistics. Because of stadium acoustics, broadcast delays and the precision demanded by a globally televised event, artists often blend live vocals with backing tracks or use prerecorded elements to ensure consistent sound quality across the venue and broadcast.

The practice is not new. Whitney Houston’s iconic 1991 national anthem performance was later confirmed to have used a prerecorded track. Katy Perry and other halftime performers have also used a mix of live vocals and reinforcement as part of highly choreographed productions.

The approach is common but the choice remains personal, shaped by an artist’s own philosophy and comfort level.

Jones, who will sing “Lift Every Voice and Sing,” framed her preparation less as declaration and more as discipline — rooted in respect for the song itself. Rather than focusing on whether a performance is live or supported, she emphasized repetition, rehearsing until muscle memory takes over.

“I try to overly practice,” she said. “When everything is second nature … I’m just a vessel.”

Jones has performed on stadium stages before, including Atlanta’s Mercedes-Benz Stadium, and said the scale amplifies pressure but doesn’t fundamentally change her mindset. She studies lyrics — her own and those she covers — to understand the emotion and intention behind every line before stepping onto the field.

From a sound standpoint, Jones stressed the importance of sound monitoring in a massive stadiums. Jones sought guidance from Alicia Keys, who became the first artist to sing the rendition of “Lift Every Voice and Sing” for the NFL in 2000.

“She just told me, ‘Don’t be nervous — be in the moment,’” Jones said. “That meant a lot coming from her.”

Puth, who will perform the national anthem, said he is approaching the moment as a producer as much as a vocalist — a mindset shaped by years of controlling sound from the studio to the stage. Though he has performed in stadiums before, he said each venue presents its own challenges.

“There’s not one stadium that sounds alike,” Puth said.

Known for his hands-on role in his music, Puth said maintaining control over sound is central to his preparation, particularly in a setting where acoustics, delay and broadcast demands intersect. The national anthem, one of the most scrutinized songs in American music, requires restraint as much as power, especially in a stadium setting, the singer said.

“You just make sure you don’t over sing,” said Puth, whose Super Bowl appearance arrives ahead of a busy year. His fourth studio album, “Whatever’s Clever,” is set for release March 27, followed by a world tour that will take him through arenas including New York and Los Angeles.

“The moment you start thinking about everybody else, you’re not locked into the music,” he continued. “And that’s when things don’t sound the way they should.”

For Carlile, the Super Bowl also serves as a bridge to what comes next.

Next week, she will launch the Human Tour, her first-ever arena headlining run. It’s a milestone she described as both thrilling and intimidating. But standing alone on the Super Bowl field, she said, offers a kind of preparation no rehearsal room can replicate.

“It’ll be the scariest thing I do this year,” she said. “So once that’s over, the Human Tour is going to be Disneyland all day long.”

Carlile said what she’s learning in this moment. She’s resisting perfection, staying present and trusting herself during her live performance, hoping she along with Puth and Jones’ performances give viewers some form of inspiration.

“You have to wake up and take a risk with yourself,” she said. “That’s what makes performance beautiful.”

By Adam Graham, Tribune News Service

It’s almost like a movie.

The Milford Independent Cinema will no longer be closing its doors, its Board of Directors announced Saturday.

On what was slated to be the one-screen cinema’s final day, the theater’s board said the theater can remain sustainable “in the near term,” according to a press release. The news comes following a successful crowdfunding effort that was “nothing short of remarkable,” the cinema’s operators said in a statement.

“We are truly blown away by the support, passion, and resilience of this community,” said the Milford Independent Cinema Board of Directors. “This theater exists because of the people who believe in it, show up for it, and see its value far beyond the screen.”

The theater announced in mid-January that it would be closing its doors at the end of the month, due to “significant and ongoing changes within the film exhibition industry.”

But then the community spoke up, and on Jan. 24, operators shared a message on social media saying that donations were pouring in and that they may be able to stave off closing. “There is hope!” they said at the time.

In recent years, Metro Detroit has seen the closure of several movie theaters and multiplexes, including the AMC Star Southfield, AMC Fairlane 21, Main Art Theatre, Maple Theater, Cinema Detroit and Regal Cinemas UA Commerce Township.

The Milford theater has been open since 1972 and has operated as a non-profit since reopening after the COVID-19 pandemic.

Saturday’s announcement didn’t come with a timeline attached, but operators said the theater will expand its offerings going forward with live events, “new and fun” film series, and new members will be added to its board. There will also be increased volunteer efforts and a new membership program for the theater.

The theater will take a short hiatus, and operators plan to reopen its doors on Feb. 11.

“From the bottom of our hearts, thank you,” the Board said in its statement. “Because of you, we are here— and we will continue to show up for this community just as you have shown up for us.”

©2026 The Detroit News. Visit detroitnews.com. Distributed by Tribune Content Agency, LLC.

There was no fat lady singing on Saturday night, Jan. 31, at the Detroit Opera House.

But things were certainly phat.

Part concert and part tribute, “Symphonic PFunk: Celebrating the Music of Parliament-Funkadelic” was a joyous throwdown that treated George Clinton’s famed funk catalog in a new way yet was undeniably a P-Funk throwdown joint.

With an hour and 45-minutes of music divided into two parts, the show needle-dropped into many of the highest points of that enduring body of work as well as a selection of deep digs, with the sold-out crowd of 2,700 dancing, arm-waving and whooping and in a manner decidedly different than, oh, “Madama Butterfly” or “La Traviata.”

The orchestral arrangements, meanwhile, — crafted by “Dancing With the Stars'” music director Ray Chew, who conducted the Detroit Opera Orchestra — largely inobtrusive and certainly eclipsed by the amplified power of the current Parliament Funkadelic lineup.

But when the orchestra did surface through the mix — during songs such as “(Not Just) Knee Deep,” “(I Wanna) Testify,” “Agua Boogie” and “Flash Light” — it added an audible richness and sonic depth to music created mostly at Detroit’s United Sound Systems studio during the 70s.

It didn’t take long for the part to get started as the Mothership and Clinton’s animated visage landed on the video screen and the ensemble kicked into a tight “P.Funk (Make My Funk the P-Funk).

In the flesh, the 84-year-old Clinton was animated and energetic in a dapper suit and fedora as he hyped the crowd along the front of the stage, mugging with Chew and the backing vocalists, including Sheila Brody Amuka in a tall Brides of Funkenstein wig and glittering bikini. Clinton was present for more than half of the 14-song show, occasionally sitting in an office swivel chair on stage and watching the rest from a private box on the Opera House’s mezzanine level.

The concert stayed hot with and without him, of course.

Clinton fronted a muscular rendition of the Parliaments’ 1967 hit “(I Wanna) Testify),” while Rahsaan Patterson joined the collective for “Aqua Boogie” and Labelle veteran Nona Hendryx came on board during “Mothership Connection (Star Child).” Living Colour’s Vernon Reid’s guitar acumen was featured during “Cosmic Slop,” while P-Funk mainstay Michael Hampton shredded on his guitar for “Alice in My Fantasies” and “Maggot Brain.”

A trio of P-Funk alumni — vocalists Sheila Horn and Paul Hill and drummer Gabe Gonzalez — reunited for a “Red Hot Mama” that lived up to its name, while the perennial “Give Up the Funk (Tear the Roof Off the Sucker)” did just that. And the roof stayed off as the whole company romped through an extended medley of “One Nation Under a Groove” and “Flash Light.” The encore, “Atomic Dog,” only kicked things up a notch as a dance team from the Omega Psi Phi fraternity worked its way down the aisle and onto the stage for an assemblage that looked epic — and operatic.

Clinton — who’s planning to launch a new Mothership show during the summer, 50 years after he introduced it — noted during the intermission that he and New York-based Chew Entertainment, which produced “Symphonic PFunk,” hope to keep the concept going; representatives of other venues, including the Hollywood Bowl, were there on Saturday to check it out. But there was only one proper place to start it, of course, and the Opera House certainly had the funk in abundance on Saturday night.

Before I tell you why you should watch the new documentary about Mel Brooks, I will tell you that 25 years ago, he told me, “You may be right. I have done everything there is to do in show business. … Everything except to be tall. That’s the one thing I’ve never accomplished, being tall. But I’m looking forward to that.”

He was a relative youngster then, 74 years old, but at a very important point in his life. He was generally regarded as a comedic giant, and why not? He had spent his life making people laugh, first as a Catskills comic and then as part of a glittering writing team (along with Woody Allen and Neil Simon) for Sid Caesar’s pioneering TV programs “Your Show of Shows” and “Caesar’s Hour”; as the co-creator of “Get Smart”; as the 2000 Year Old Man on a series of best-selling comedy albums with pal Carl Reiner; as movie writer, director, producer and actor in such films as “The Producers,” “Young Frankenstein” and “Blazing Saddles.”

But he had not had a critical or box-office hit since his 1977 Hitchcock spoof “High Anxiety.” And there he sat on a cold December day in 2000 in New York, taking a big risk, for many believed that the success or failure of the musical version of “The Producers” he was overseeing would provide the final sentence to his career.

Well, we all know what happened. “The Producers” would open in Chicago, move to Broadway and win a record 12 Tony Awards. The career carried on, and now here is Brooks, as charming, smart and, of course, funny as ever, as the centerpiece of a thoughtfully thrilling documentary now airing on HBO Max. “Mel Brooks: The 99 Year Old Man!,” exclamation point more than justified.

It may be a bit long at almost four hours (in two episodes, now streaming), but it is impossible not to enjoy. Its length is forgivable since one can sense the excitement and affection of filmmaker Judd Apatow, who interviews Brooks at length. Apatow, along with co-director Michael Bonfiglio, has previously also captured in documentary form George Carlin and Garry Shandling.

Drawing on ample archival footage and candid interviews, he and Bonfiglio take us back to the beginning with Brooks (born Melvin Kaminsky), the youngest of four boys of a widowed mother in Brooklyn, all of them off to World War II, all safely returned, with Brooks telling Apatow, “War changed me. If you don’t get killed in the Army, you can learn a lot.”

His career moves to the raucous Sid Caesar writers’ room and we do also hear, rather wistfully, from Brooks’ three children and his first wife, former Broadway dancer Florence Baum, before he was off to moviemaking in California in the early 1960s. His granddaughter Samantha is charming.

You will hear Brooks tell a terrific Cary Grant story (one he has told many times over the years on the various late-night talk shows where he has been a frequent guest) but, more tenderly, tales of his courtship and marriage to actress Anne Bancroft. Gene Wilder shares feelings that go far deeper than director and star. And we get details of Brooks’ long friendship with writer-director Reiner, from the early 1960s to their sharing dinners together as widowers every night watching “Jeopardy” on TV.

Bancroft died in 2005; their son, novelist Max, is tender in interviews. Reiner’s wife Estelle died in 2008 and Reiner in 2020. Hearing Reiner’s son, filmmaker Rob, talk about his father and Brooks gives one a chill, knowing this was one of the final conversations before he and his wife Michele Singer Reiner’s December murders.

The number of people with whom Brooks has shared his creative life will impress and perhaps surprise you. There’s Richard Pryor, who did a bit of writing for “Blazing Saddles,” who says, “He’s a loving man. It’s about love with him.”

The late director David Lynch credits Brooks with saving his career by hiring him to direct “The Elephant Man” after seeing Lynch’s “Eraserhead.” In addition to his own movies, Brooks produced such films, through his Brooksfilms, as “The Fly,” “My Favorite Year,” “Frances” and others, taking a rare low profile lest his name lead moviegoers to think they would be seeing comedies.

Naturally, we hear from a large crowd of showbiz folks and all of them — Ben Stiller, Jerry Seinfeld, Dave Chappelle, Sarah Silverman, Conan O’Brien, Josh Gad, Robert Townsend, Matthew Broderick, Nathan Lane and others — are complimentary. There must be someone in that backbiting swamp that is Hollywood who isn’t a Brooks fan, but such a person is not to be found here.

Whatever your relationship with Brooks beforehand, this film will enrich it. Will you understand what makes him tick? I don’t know, and you won’t care. Just spending time with him is satisfying enough.

His famously quick wit has not lost a step. When Apatow asks, “You lost your father at an early age?” Brooks quickly replies, “No, no. My father died.”

His ability to recall names and places and laughs is, frankly, astonishing. He is not only able to remember but to enjoy, to savor. We should all be so lucky.

In the film, he says, “Sometimes my comedy is just to celebrate the joy of being alive.” And as he has said many times in his many years, he has always used humor as “a defense against the universe.” Few, if any, have done it better.

rkogan@chicagotribune.com

By MARK KENNEDY, AP Entertainment Writer

NEW YORK (AP) — Some people see the glass as half full and some as half empty. Marc Shaiman is something else entirely.

“I’m not even happy with the glass,” he says with a laugh.

The award-winning Hollywood and Broadway composer and lyricist cheerfully likes to call himself an “Eeyore” and “a card-carrying pessimist” despite many of his biggest dreams coming true.

“Just as soon as something good happens, something bad’s going to happen,” he tells The Associated Press. “I am always waiting for that other shoe to drop, and it inevitably drops.”

His career and personal ups and downs are on full display this winter with Tuesday’s publication of his memoir, “Never Mind the Happy: Showbiz Stories from a Sore Winner,” which is filled with funny stories from a man who has helped fuel popular movies and musicals for decades.

“I’ve been lucky enough to do a lot and I’ve been lucky enough to have an outrageous longevity. I thought, ‘Let me write it down, finally,’” he says.

Tales of Bette Midler, Stephen Sondheim and the ‘South Park’ guys

The memoir charts the New Jersey-born musical prodigy’s rise from Bette Midler’s musical director in his teens to scoring such films as “Sleepless in Seattle” and “Mary Poppins Returns” and Broadway shows like “Hairspray” and “Catch Me If You Can.”

He’s worked with Billy Crystal, Martin Short, Luther Vandross, Raquel Welch and Rob Reiner, sparred with producer Scott Rudin and had a spat with Nora Ephron (“I’m certain she’s in heaven, telling all the angels she doesn’t like harps,” he writes). He also played at the White House and was a force in the early days of “Saturday Night Live.”

There was the time in 1999 that he got legendary composer Stephen Sondheim so high on pot at a party in his apartment that the iconic composer collapsed three times. “I’ve killed Stephen Sondheim,” he thought to himself. (Sondheim asked him to tell the story only after he died.)

He tells the story of hearing Meryl Streep repeatedly working on a song for “Mary Poppins Returns.” Moved, he and his writing partner, Scott Williams, knocked on her door to say how impressed they were by her dedication to rehearse. “Well, guys, fear can be a powerful motivator,” she told them.

“I’m mostly just trying to show how human everyone is — even these bold-faced names,” Shaiman, a two-time Grammy winner and two-time Emmy winner, says in the interview.

Shaiman isn’t above mocking himself, as he does for becoming an inveterate pothead and cocaine user. “I should go into the Guinness Book of World Records for being the only person who put on weight while being a cocaine addict,” he writes.

There are stories about how a misunderstanding over an unpaid bill with Barbra Streisand left him shaken for days and the time he insulted Harry Connick Jr. (Both would later reconcile.)

Then there was the time he found himself dressed in an ostentatious powder-blue suit and feather boa alongside Matt Stone and Trey Parker on a red carpet for “South Park: Bigger, Longer & Uncut” — they were dressed as Gwyneth Paltrow and Jennifer Lopez.

One lesson from Shaiman: ‘Show up’

One lesson Shaiman hopes to teach aspiring artists is to go for it: “What you can do is show up. Show up to everything. Say yes to everything because I’m a good example of that.”

He tells the story of Midler organizing a world tour and offering his services but being told she was only hiring local Los Angeles people. So he withdrew all his money from the bank, hopped on a flight from New York and called her from a phone booth: “I’m in L.A. Where’s rehearsal?”

“Even if you don’t get the job, keep your spirit up because someone in that room is going to remember you for another thing. That’s the thing I think to really learn from the book,” he says.

As a sign of Shaiman’s pull on Broadway, the audiobook will feature performances by Crystal, Short, Matthew Broderick, Megan Hilty, Nathan Lane, Katharine McPhee and Ben Whishaw, among others.

“I had included a lot of lyrics in the book and then I suddenly realized, ‘What, am I going to sing them all or speak them all?’ So I started calling friends, some who had sung those songs and some who had sung the demos,” he says.

Crystal met Shaiman at “Saturday Night Live” and quickly hit it off. In a separate interview, Crystal called his friend funny and quick to improvise, with an almost photographic memory of music.

“Look at his range: From ‘Misery’ to the beautiful score from ‘The American President.’ And I brought him in on ‘61(asterisk)’ and then the ‘Mr. Saturday Night’ score,” Crystal says. “He’s just so uniquely talented as an artist.”

Despite being a Tony Award winner in 2003 with “Hairspray” and earning two other nominations for “Catch Me If You Can” in 2011 and “Some Like It Hot” in 2023, Shaiman is flustered by Broadway.

His last two shows — “Smash” and “Some Like It Hot” — earned great reviews but closed early, a victim of high costs and fickle audiences.

“I wish the shows kind of stunk and I could go, ‘Oh, man, that really stunk. People are really not liking this,’” he says. “But when they’re enjoying it?”

Shaiman really has nothing else to prove and yet he laughs that his skin has gotten thinner — not thicker — over the years. He’d like to take it easy, but that’s not what Eeyores do.

“I don’t know how well I’ll actually do with retirement, but I’d like to give it a try.”

The Ark experimented with the format of its annual Ann Arbor Folk Festival on Friday night, Jan. 30, at Hill Auditorium.

And in Greensky Bluegrass, it couldn’t have found a better band to do that with.

For the first night of the 49th annual incarnation of the Ark’s largest fundraising event, the festival eschewed the usual multi-act bill (six will be part of the lineup on Saturday. Jan. 30) with truncated sets and presented a more traditional headliner-with-opening act (Junior Brown). That allowed Greensky, formed more than 25 years ago in Kalamazoo, to do what it does best — take a couple hours and stretch out, mixing tight songcraft with improvisational daring do, its five members improvising and dancing around expansive song arrangements.

It’s certainly worked for the group, whose plugged-in approach with acoustic instruments has made it one of the darlings of the nu (blue)grass world and a large-venue headliner around the world.

But the Greenskyers were clearly stoked to be playing their first Folk Festival, as well as returning to Ann Arbor for the first time since 2013; dobro player Anders Beck told the audience that the group, which headlined at the Fillmore Detroit last August, was actually planned to not play shows this winter and instead focus on making a new album, but that the Folk Festival was a gig on the band’s bucket list.

“It’s good to be playing Greensky Music in Michigan,” he noted.

The troupe’s two-hour, 16-song set certainly reflected that feeling as well as the sea change in approach for the festival, with many Greensky faithful standing throughout while some mainstays noticeably drifted out during the show.

Following a characteristically fiery set from country singer-guitarist Brown — an Ark regular resplendent in his suit and cowboy hat and dazzling as always on his hybrid “guit-steel” double-neck guitar — Greensky set the tone with a fast-paced “Past My Prime,” with mandolinist Paul Hoffman singing and the Beck picking through the first of his many solos during the night and the band’s custom light show immersing itself onto Hill’s walls and ceilings. But the set hit stride as the next three songs — “Monument,” “Streetlight” and a warp-speed “Burn Them” — flowed into each other, their sturdy melodies giving way to improvisational forays by Beck, Hoffman, guitarist-vocalist Dave Bruzza and banjoist Michael Bont, while Mike Devol held things together on his bass.

Likely takeaways for Greensky fans were epic, extended performances of “Whatchoo,”the Traveling Wilburys “Handle With Care” and “Don’t Lie,” as well the dobro-mandolin exchange during “Weather,” a particularly emotive “Windshield” and a playful romp through “Fixin’ to Ruin.” The group also covered fellow Michigander Billy Strings’ “While I’m Waiting Here,” and it encored with appropriate version of Jerry Garcia and David Grisman’s “Drink Up and Go Home.”

Whether it was a successful start for the festival will be the subject of review and discussion in days to come. But, no question, it was another successful — and more than that, really — night with an undeniably upper-strata live act.

The Ark’s 49th Ann Arbor Folk Festival concludes at 7 p.m. Saturday,. Jan. 31 at Hill Auditorium, 825 N. University Ave., Ann Arbor. Amos Lee, Dawes, the Crane Wives, Jon Muq, Rabbitolgy and emcee Ryan Montbleau perform. 734-761-1800 or theark.org.

By Adam Graham

agraham@detroitnews.com

If they came through town, Ken Settle photographed them.

The Rolling Stones, Soundgarden, U2, Guns N’ Roses, David Bowie, Prince, Stevie Ray Vaughn, B.B. King, Kiss, Metallica, the list goes on. And that’s to say nothing of homegrown superstars like Alice Cooper, Madonna and Bob Seger.

For more than 40 years, Ken Settle was a fixture at local concert venues of every size, from small clubs to supersize stadiums. The acclaimed rock photographer died Monday, according to a post on his Facebook page. He was 66.

Settle, known for his poof of blond hair parted in the middle, was born in Trenton and grew up in Westland. He shot Bob Seger when he was just 11 years old, when the longhaired rocker was playing a softball game against the staffers from WRIF-FM (101.1). He asked Seger if he could take his picture and Seger agreed.

A few months later, Settle borrowed his father’s camera and popped off some shots of Creedence Clearwater Revival at Cobo Hall, and it was there that he was bitten by the rock photographer bug.

“I remember walking down the aisle on the main floor of Cobo to get a bit closer to the stage, and I took a handful of fairly blurry, not-so-good photos,” Settle told WCSX-FM (94.7) in 2023. “But the energy and excitement of live music at Cobo Arena was electric and it was such a thrill to try to capture that — even in my little kid’s way of doing so.”

From there, he shot a ton of early Seger shows, when Seger and his band were working their way up the local ladder, and Settle in turn became a staple in photo pits at local concerts from artists of all ranks. His work appeared in Rolling Stone, Creem, Playboy, People, Guitar Player and other publications across the globe, as well as locally in MediaNews Group’s Michigan publications, including The Oakland Press and the Macomb Daily.

“Ken was one of the best shooters ever,” says Scott Legato, a fellow rock photographer who shared photo pits with Settle over the last 20 years. “He was just a great guy. He had a big heart, and he loved his cats.”

In addition to his cats — he had several, and was known for taking in strays — Settle also had an extensive collection of guitars and amplifiers.

“Ken was awesome. Nice guy, always helpful, always great to be around,” says Chris Schwegler, a fellow photographer who shot concerts with Settle for years and considered him a good friend. He says he would talk to Settle two to three times a week and was just texting with him the other day, helping him out with a computer problem.

As a photographer, “Ken knew what looked good for a photo, no matter who the artist was,” says Schwegler. “He knew the shot he wanted to get, and he knew how to get it.”

Settle’s photo archives are vast, culled from thousands of shows, from Nirvana to Nicki Minaj, from Janet Jackson to John Mellencamp, Bruce Springsteen to Lil Wayne. His photos have been hung in Hard Rock Cafes around the world, and his shots were used in episodes of VH1’s “Behind the Music.”

He captured artists on stage from the 1970s through the 2010s, as photography went from film to digital, as artist rules went from shoot-the-whole-show to just the first three songs. His images are a history of live music in Detroit.

Settle came up shooting film and was a holdout on switching to digital for a long time, and that discipline made him a better photographer, says Legato.

“He had a good eye. He could anticipate the shot and get the shot,” he says. Legato helped convince him to go to digital, he says, but Settle “still had the mindset that he was shooting film.”

Friends say Settle had complained of experiencing shooting pain in recent weeks, but he was hesitant to go to the doctor.

He had slowed down from shooting rock concerts after COVID-19, but was still active on social media, and tributes poured into Settle’s Facebook page following news of his death.

Steve Galli, a fellow rock photographer who had known Settle since the late 1970s, said Settle was one of the best shooters in the business.

“He was known all over. When I started traveling out of state to cover music fests, other photographers would say to me, ‘You’re from Detroit, you must know Ken Settle,'” says Galli. “Photographers from all over the country associated Detroit with Ken Settle.”

When other photographers were gathered front and center in front of the stage at a concert, “he’d be way over on the side, getting an angle no other photographer was getting,” Galli says.

Galli says he remembers being in photo pits waiting for Settle to show up, wondering if he was going to miss the show, only to see him emerge from the backstage area, where he had been shooting portraits of the artists before the concert began.

“We were thinking he missed out, when it was us missing out,” he says.

Settle was always helpful to newcomers, Galli says, and would freely share information and tips of the trade with others.

“He was such a nice person, a really bighearted guy,” says Galli. “Ken was a legend.”

By Adam Graham, agraham@detroitnews.com

The Milford Independent Cinema is ceasing operations, joining a host of other area movie theaters that have run their final credits in recent years.

The one-screen theater, founded in 1972, will close its doors Jan. 31, operators announced in an Instagram post on Sunday.

“This difficult decision follows extensive efforts to sustain operations amid significant and ongoing changes within the film exhibition industry,” the statement said. “Shifts toward streaming platforms, evolving film distribution models, rising operational costs, and increasing box office fees required to show first-run films have made it increasingly difficult for independent theaters to remain viable.”

The theater’s closing follows the shuttering of other Metro Detroit movie theaters and multiplexes, including the AMC Star Southfield, AMC Fairlane 21, Main Art Theatre, Maple Theater and Cinema Detroit, all of which have closed their doors since 2020. The Regal Cinemas UA Commerce Township closed in September after more than 27 years in business.

The Milford theater requires $70,000 in annual support to cover operating costs, the statement said.

“This decision was not made lightly and is not due to a lack of effort or community support,” the Cinema’s Board of Directors said in a statement. “The Milford community showd up for us time and time again — with attendance, fundraising, and unwavering commitment. We truly tried to evolve with the industry and meet the needs of our community. Unfortunately, we simply did not have enough time or the level of corporate and major donor support required to get where we needed to be.”

Details of the theater’s closing events will be announced in the coming days.

The Milford, which was run by the Henn family from 1972 to 2020 and reopened with new ownership in 2021 after shutting down during the COVID-19 pandemic, is currently showing “Song Sung Blue,” starring Hugh Jackman and Kate Hudson as a Midwestern couple who play in a Neil Diamond tribute band.

The theater had mapped out showings for its Film Appreciation Night for the rest of 2026, including free showings of “Fargo” (Jan. 26), “All the President’s Men,” “Trainspotting,” “The Searchers” and more.