Entertainment & Arts

“Just Mercy” star Michael B. Jordan and his real-life counterpart, Bryan Stevenson, on death row reform and their movement for change
ABC announced Wednesday that it would be “repeating what worked for us last year” by going host-free at next month’s Oscars broadcast, citing an increase in viewership. But will lightning strike twice?
“Jojo Rabbit” and “1917" get a boost alongside “Joker,” “The Irishman,” “Once Upon a Time in Hollywood,” “Parasite” as major guilds reveal nominations.
South Korean actor Song Kang Ho says his ‘Parasite’ character may seem kind of extraordinary but actually “is more of a metaphor, a symbolic character.”
For filmmaker Alex Holmes, tracking down original footage of the all-female sailing team in the 1989-90 Whitbread Round the World Race was a daunting task.
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Scripps Ranch High grad Flannery Gregg was associate choreographer on Greta Gerwig’s “Little Women,” helping shape the film’s dynamic dance scenes.
MOCA launches its free admission policy with a family festival, Long Beach Opera has a sci-fi take on “King Arthur” and Dance at the Odyssey returns.
Behind the facade of a rundown used-car dealership on Lincoln Boulevard sits a new gallery called Le Maximum.
“Crazy Ex-Girlfriend” duo Rachel Bloom and Adam Schlesinger are writing the music and lyrics for a musical based on Fran Drescher’s TV series “The Nanny.”
The stage adaptation of John Carney’s heartwarming 2016 movie, directed by Tony winner Rebecca Taichman, is headed for the Great White Way this spring.
Work that merges two art forms is showcased at the Dance Camera West film festival in Downtown Los Angeles.
Ben Cadwallader, who begins his LACO post in March, says he will prioritize inclusivity and try to bring new audiences to classical music.
The beloved L.A. Conceptual artist, who died at 88, talked about the influence of his dad’s salvage business and finding “visual value in everything.”
Hans Zimmer spent a year with Terrence Malick before “The Thin Red Line” score was done. James Newton Howard lost a shot at an Oscar because Malick used classical masterworks with Howard’s score for “A Hidden Life.” But Howard says working with the director was worth the Academy snub. Here’s why.
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