It started like most of my trips do, by coming across a cheap airfare. I’d only been to Vienna once, decades ago, loved it and always meant to go back. But did I really want to go in winter, when it’s bone-chilling cold, even if I could fly there for only $400 roundtrip? I’m a California girl, after all.

The answer was yes, of course it would be worth it. I pondered going for the elaborate Christmas markets for which the city is famous, but it’s too hard to get away in December, what with the holidays and all.

Then, I remembered I’d always wanted to see the famed snow-white Lippizaner stallions at the Spanish Riding School, and I’d read about the hundreds of balls that take place each winter. Plus, Vienna is considered the world’s best city for classical music, and winter is when the scene is in high gear. Not all that surprising, really, considering it’s too cold to do much else.

In fact, my love of grand opera began there some 40 years ago, when my friend and I discovered we could buy standing room tickets for that night’s performance of “Salome” at the box office for the Staatsoper, the Vienna Opera House. We paid the equivalent of 91 cents. The evening was enchanting and unforgettable.

Nowadays, there’s no way I’m standing for three hours, but I’m still cheap, so I paid 16 Euros (around $20) for obstructed view tickets to “The Marriage of Figaro.” Mozart wrote the opera in his house nearby and it premiered in Vienna in 1786. We were in our cheap seats in the third row of a box, so couldn’t see the whole stage, but we saw enough to enjoy the show. It’s definitely worth going to see this Renaissance and Gothic revival palace of music, opened in 1869, even if you’re not an opera fan, but it’s essential to get advance tickets online, although you can still get standing room tickets at the box office on the same day. They’re not 91 cents anymore, but still pretty cheap.

Back when we bought our plane tickets in September, I couldn’t stop the ridiculous thoughts of going to a ball. I’m 69 years old — a little long in the tooth to pretend to be Cinderella. I live in T-shirts and mom jeans. I owned nothing that could be worn to a fancy occasion, let alone a ball. But the idea kept growing on me, until finally it popped out, fully grown. I needed to go to a ball. Any ball. No one was inviting me back home, so I clearly needed to go to Vienna.

Luckily, my friend Lori agreed to come with me (She’s weird too).  I went online and bought tickets for 210 Euros each to the Coffee Brewers Ball — supposedly one of the best in the city. (Don’t laugh, coffee is a religion there.) Then, of course, we had to go buy formal evening gowns, shoes, stockings, clutches and gloves. I found The Dress Outlet in the downtown L.A. garment district that had plus size dresses, and scored a silver sequined gown on sale for $59. We also bought enough cold weather clothing to outfit a polar expedition — and we needed it.

On arrival, we checked into the lovely 130-year-old Hotel Kaiserhof, an antique-filled place with a kind, helpful staff.

On our first morning, we headed to the Belvedere Museum, a baroque former palace that retains its grandeur. The acres of gorgeous gardens were frozen in January, but the palace retains its massive crystal chandeliers, painted ceilings, gilt trim and all its imperial splendor.

Our destination was the collection of paintings by Gustav Klimt, including his most famous, “The Kiss.” The artist used real gold in their construction they glow even today. This did not disappoint.

Afterward, we headed to the Hofburg Palace, where we’d reserved a walking tourof the Imperial Apartments, including the Sisi Museum. Sisi was the nickname of Empress Elisabeth of the Austro-Hungarian Empire. We’d recently watched an engrossing PBS series about her life. In a story that is possibly apocryphal, she was 16 years old when she accompanied her aristocratic Bavarian family to Vienna, where her sister Helene was to meet Emperor Franz Joseph, to whom she was already engaged to be married. But when they arrived, the emperor was so smitten with Sisi that he broke his engagement to her older sister, and married her instead. That was only the beginning of a thoroughly unique life for a royal wife.

After touring the excessively grand Imperial Apartments, I felt my little tract house at home was a little lacking. But then I don’t need dozens of servants to take care of it.

Our next big adventure was visiting the Spanish Riding School, which has been famous for its pure white “dancing” Lippizaner stallions for hundreds of years. The name dates back to a former emperor, a Habsburg from Spain, who brought his horses with him. The first mention of a riding arena on the site dates back to 1565. And, to this day, they are meticulously trained from colts to perform spectacular feats of dressage, including some who can lift their front legs and seem to prance off the ground.

For horse lovers, it’s a breathtaking treat to see them. After the performance, we took a guided tour of their stables, where the equines are treated like the stars they truly are. Each horse has its own rider, who trains it from a young age and stays with the horse until it retires. We got a look at their fancy show tack, including bridles and saddles, and learned about their lives. We weren’t allowed to pet them, which I understand because strangers could make them sick, but it was hard to keep my hands in my pockets. The tour was supposed to last an hour but actually was only 37 minutes, which was annoying, but still worthwhile.

And then there were the balls. I was able to get press tickets to see the annual Vienna Philharmonic Ball, which is one of the most sought-after and prestigious in the city. Tickets go on sale in January. This year, the 100-year-old event sold out in only 80 minutes, according to the ball director, Paul Halwax.

Each year, workers remove all the seating from the elegant, gilded Musikverein — the concert hall where the famed Vienna Philharmonic plays — and turn it into a ballroom that can hold some 2,600 people. And we felt like we encountered all of them, as the elegantly attired guests were crammed cheek-to-jowl in the huge space. In addition to the main ballroom, there were bars and other places to hear music and dance the night away, and I mean that literally. Vienna balls generally start around 9 p.m. with a processional of white-clad debutantes dancing, and then continue all night until 4:30 or 5 a.m. punctuated by special events such as ballet or opera performances.  Afterward, attendees ignore their sore feet and head out to get traditional Vienna sausages for breakfast before going home.

The most elegant balls, like the Philharmonic, are unyielding about their dress codes: White tie and tails for men and long evening gowns for ladies. Some balls allow tuxedos as well. People who turn up underdressed are turned away with regrets. Every year, some ladies show up in short cocktail dresses, and are sometimes irate at being refused entry, even though every venue, often even the tickets themselves, describe the dress code in advance. The Philharmonic ball, ever solicitous of its elite guests, provides seamstresses, hairdressers and cosmeticians on site for emergency repairs.

Vienna is known as the city of balls, and some 400 are held annually, sponsored by trade associations or other groups. The official ball season starts on Nov. 11 at 11:11 a.m. Most of the balls are held in carnival season of January and February, ending by Ash Wednesday, but there are some outliers at other times as well. Generally, anyone can buy a ticket to a ball, but be warned that they typically sell out.

For this trip, I had to break my cardinal cheapskate rule of never paying to check a bag at the airport, because bringing an evening gown (actually two, because I bought one for the opera as well)- was impossible in my tiny carry-on bag.

Keep this in mind, though: Regular tickets only get you in the door, to watch and dance. If you want a place to sit, you need to reserve a seat at a table. This will cost considerably more, but it’s well worth it when your tootsies are sore and you need a break. Waiters are also on hand to bring food and drink, at additional cost. Champagne is by far the most popular option. Tickets for table seats are often for sale before regular tickets. There are typically also fancy boxes for sale, with as you can imagine, higher prices.

Being cheapskates, we didn’t have seats, so by 1:30 a.m. our dogs were barking. But, surprisingly, the fairy tale atmosphere was so enchanting that I didn’t even feel tired, but our bodies couldn’t take any more.

The following night, we repeated the magical experience, this time in the Hofburg Palace. The Coffeehouse Owners Ball is so vast that it takes over all the ballrooms in the palace. With more space, it was less crowded than the night before, so cooler. The orchestra in the main ballroom, which accomodated thousands of dancers, played waltzes and also other dances, even sedate rock ‘n’ roll. Other smaller ballrooms offered more dancing, including sambas, tangos, swing and more. Later in the evening, a jazz club and disco opened. The entire place remained buzzing until the wee hours, but again we had to reluctantly leave as our aching feet disappointed us.

Incidentally, Vienna was the first place I ever drank real, delicious dark roast coffee all those years ago, long before it became popular in the U.S. In fact, the aromatic beverage is practically a sacrament in Vienna, which is why there’s a ball dedicated to it. The menu at our hotel breakfast offered us nine different varieties, with lattes, espressos and other drinks with which I wasn’t acquainted.

The next day, after two balls in a row, I scarcely got out of my comfy hotel bed except to get downstairs in time for free breakfast. I’m old, after all. Even in my sleep, I was still humming the waltzes I’d heard. In fact, I’m still humming them to this day.

When I planned this adventure, I presumed it would be a once-in-a-lifetime experience. But now, I’m even considering doing it again. The balls were so grand and overwhelmingly beautiful. The winter season in January means no crowds at any tourist attraction. We walked right into museums that have long lines in the summer.

But brrrr…it’s so darn cold! There’s no lingering strolls and window shopping, at least not for these weenie California girls. And Vienna is a city of beautiful gardens, all of which were cold and dead in January.

This is something I must contemplate further, although I know I’ll be back to Vienna again, and hopefully soon. It is a magical place.

If you go:

• What’s in a name? Vienna is the city’s English name, but it’s called Wien (pronounced veen) in German. Also note that nearly all Austrian tourism websites have a toggle at the top that will allow you to translate them into English.
• Spanish Riding School: Make sure you have advance reservations to see the stallions. Buy tickets here: srs.at/en
• Music: The main opera house is the Wiener Staatsoper, a spectacular palace of music that has performances of various types most every night. wiener-staatsoper.at, The other main opera house is the Volksoper Wien, which hosts operas, operettas and musicals. volksoper.at There are too many music venues to list here, but the most famous is the Vienna Philharmonic, one of the world’s greatest orchestras, which performs at the Musikverein.
• Balls: Vienna is known as the city of balls, and its estimated that some 400 are held annually. Generally, anyone can buy a ticket to a ball, which does not include seating. Tickets are already on sale for next January’s Coffeehouse Owners Ball. at kaffeesiederball.at.
• Museums: Vienna has a dizzying number of museums, including spectacular former palaces. You can also visit the homes of famous people, including Mozart, Beethoven, Haydn, Strauss and Sigmund Freud.
• Where to stay: We liked the mid-priced boutique Hotel Kaiserhof, which has an elevator, bar, room service, breakfast buffet and friendly staff. It’s located in the Fourth District, close to public transportation and the historic attractions in the First District. hotel-kaiserhof.at/wien

By ANITA SNOW

TUCSON, Ariz. (AP) — Wearing an oxygen pack on her back for her COPD, Marcia OBara is leading a group of nature enthusiasts on a mission to see birds. They carry walking sticks on the flat trails, moving at their own pace, without pressure or competition and enjoying a sense of community.

This is Birding for Every BODY, one of numerous such excursions offered each month by the nonprofit Tucson Bird Alliance with Arizona’s Pima County.

It’s part of a growing national movement to help people with physical and other limitations experience birding and nature in general.

“It’s an opportunity for people to get out and see birds without pressure, no matter how long it takes or how many birds we see,” said OBara, a retired nurse who has been leading the accessible outings for three years. She said disabled people often cannot keep up on traditional outings, especially when competitive birders are focused on checking off a list of the greatest possible number of species.

For her accessible walks, OBara ensures that all trails are easily traversable, and bathrooms are open and large enough to accommodate mobility scooters and wheelchairs. She checks on the availability of drinking water, shade and benches. Once a walk gets underway, OBara checks to ensure everyone is keeping up, then modulates the pace as needed.

“I used to work in rehab, so I usually know what people need,” OBara said.

While the outings are open to those with wheelchairs and mobility scooters, people who use those devices rarely attend the walks, OBara said, perhaps because they don’t think they’ll be able to keep up.

“But we’d encourage them to come,” OBara said.

Enjoying nature and community

On one of several walks she led in February at Tucson-area parks, OBara pointed out a phainopepla, a slender, crested bird perched on a mesquite tree that adores the bright red berries of desert mistletoe clumped on the branches. Quacking mallards and other ducks swam in ponds or pecked the ground.

“It’s nice to just be outside and not think of anything else,” said Rhea Guertin, a retired Rhode Island snowbird who spends four months in Tucson each winter. She used a walking pole for stability.

“I’m just slow,” she explained.

Evelyn Spitzer, a retired Tucson-area teacher, used a walking pole for her heart condition and the lingering effects of a recent surgery.

The organized effort to share birding with people with limitations goes back at least to 2018, when retired Texas teacher Virginia Rose founded the nonprofit Birdability. Rose has used a wheelchair since suffering a spinal injury at age 14.

On smooth trails or from the back deck

“Our vision is that birding be truly for everybody and every BODY, regardless of disability,” said Cat Fribley, Birdability’s executive director. She said participants’ limitations include mobility issues, blindness or low vision, chronic illness, intellectual or developmental disabilities, mental illness. Some are neurodivergent, deaf, hard of hearing or have other health concerns.

Fribley, who has a mobility scooter for multiple disabilities, said she can go five or six miles while birding on the accessible paths in her residential community in Iowa City, Iowa.

“In the winter, I bird on my back deck with my coffee,” she said.

Other examples of accessible birding include watching from a car, from a canoe on a river, or simply through a kitchen window, advocates said.

Maps and apps

Birdability has helped compile a crowdsourced map of accessible birding locations nationwide in partnership with the National Audubon Society, and offers advice to able-bodied birders on how to be more welcoming and inclusive.

The group’s website has many other resources and adaptive devices, such as car-window mounts for cameras, and apps that blind people and others can use to identify and record birdsong.

Occupational therapist Freya McGregor recommends binocular harnesses, which are strapped around the back and chest, saying they’re easier on the shoulders and neck than binoculars that hang around the neck.

McGregor — who has a permanent knee injury — runs Access Birding, which trains nature organizations such as state parks and local Audubon chapters on making trails accessible.

Birding by ear

Birding “really brings you joy,” said Jerry Berrier, a 73-year-old Massachusetts birder who has been blind since birth. “There is happiness from being out in nature.”

Berrier got hooked as a college student when he learned to identify a huge number of bird calls and songs to satisfy the lab requirement for a biology class. He later taught blind and blind-deaf people how to negotiate the use of laptops and cellphones at the Perkins School for the Blind in Watertown, Massachusetts.

He captures avian songs and calls for his website, www.birdblind.org, to help blind bird enthusiasts record and share their own. Last year, he launched the “Any Bird, Any Body” podcast with his friend, Gary Haritz.

Berrier also helped organize the first national bird-a-thon for blind enthusiasts in the U.S. It drew several hundred participants last year, who reported the birdcalls they heard over 24 hours. The event goes international this year on May 3-4.

“We encourage people to reach out to local organizations to help blind people with the bird-a-thon, he said. “A disability can be very isolating.”

Anita Snow wrote for The Associated Press for more than 35 years before retiring a year ago. When she’s not birding, she writes freelance articles from her home in Tucson, Arizona.

By ROBIN ARZON

This recipe is from the “I Love Sandwiches” chapter in my cookbook “Eat to Hustle.” The chapter is basically my love letter to road-trip food made healthier — inspired by fast-food classics, gas-station gems, and deli-counter staples that I thought I’d never get to eat again after going vegan.

My versions hit just as hard, especially because they’re loaded with plant-based protein, so your body enjoys them just as much as you do.

Traditional sloppy joes are way too sweet and ketchup-y for my taste. I like to think my version is a little more refined — still hearty and meaty from the lentils, with a smoky, savory sauce that’s just the right amount of tangy. Serve the hearty filling on high-protein buns and watch them disappear.

Napkins definitely required.

Lentil Sloppy Joes

Servings: 4 sandwiches

2 tablespoons avocado oil

Ingredients

½ medium white onion, diced

½ green bell pepper, seeded and diced

2 garlic cloves, minced

1 (15-ounce) can tomato sauce

2 tablespoons coconut sugar

2 tablespoons vegan Worcestershire sauce or coconut aminos

1 tablespoon chili powder

1 teaspoon kosher salt

1 teaspoon smoked paprika

½ teaspoon red pepper flakes

½ teaspoon freshly ground black pepper

2 cups cooked lentils

4 high-protein burger buns, such as Hero

Directions

Preheat the oven to 200°F. In a large skillet, heat the avocado oil over medium heat. When the oil is shimmering, add the onion, bell pepper and garlic. Cook, stirring often, until the pepper is soft, about 4 minutes.

Stir in the tomato sauce, coconut sugar, Worcestershire sauce, chili powder, salt, paprika, red pepper and black pepper. Let the mixture come to a simmer, then stir in the lentils to coat. Simmer until the lentils are warmed through and the sauce is thickened, about 5 minutes.

While the lentils are simmering, split the burger buns and arrange on the oven rack to toast. Divide the sloppy joes mixture among the toasted buns and serve immediately.

Robin Arzón is head instructor and vice president of fitness and programming at Peloton. She’s also a bestselling author. She lives in New York City with her husband, Drew, and their children Athena Amelia and Atlas Sage.

Excerpted from “Eat to Hustle” by Robin Arzón. Copyright (copyright) 2026 by Robin Arzón. Used with permission of Voracious, an imprint of Little, Brown and Company. New York, NY. All rights reserved.

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 THOMAS ADAMSON

PARIS (AP) — He is known as the French Banksy — or simply JR. Now the artist popular across France for large-scale projects, from photographs to graffiti and street art, wants Parisians to do something unusual on the city’s arguably most famous bridge: stop.

In June, he plans to transform the bustling Pont Neuf that dates back to the 17th century into a walk-through “cave” — a temporary, monumental public artwork that will cover the stone arches with a rocky illusion and invite visitors to cross the River Seine through a tunnel, complete with sound and digitally augmented reality.

He says it’s possibly the “largest immersive installation ever made” and — one that will be accessible around the clock and offer a “totally different approach” to the bridge.

“We’re about to leave something pretty incredible in the middle of Paris,” JR told The Associated Press at his studio in eastern Paris, wearing his trademark hat and shades.

His project, the Pont Neuf Cavern is to run June 6-28, spanning 120 meters (yards) in length and over 17 meters in height.

A tribute — and a gamble

The installation is a nod to a Paris legend: the late artistic duo Christo and Jeanne-Claude who in 1985 wrapped Pont Neuf — and its streetlamps — in a pale golden fabric. The project, which took years of negotiations with the authorities, helped define the genre of monumental public art in modern cities across the world.

To JR, the homage is both aesthetic and personal.

“I had the chance to meet Christo along the years,” he said. “We had big respect for each other’s work.”

While walking recently on the street with an AP crew, an older woman stopped JR — now, a household name in his country — to share her memories of the Christo and Jeanne-Claude wrapping. She told him she was excited to see the bridge transformed again.

Still, JR — a pseudonym stemming from first name, Jean-René — acknowledges the weight of following in the iconic pair’s footsteps.

“It’s pretty hard to go after them,” he said, “but I’m doing it in a very different style, in my own way.”

His idea is about “bringing back mineral and nature” to the heart of Paris.

From the outside, his installation will make Pont Neuf look “as if it has been overtaken by a prehistoric outcrop,” a structure visible along the banks of the Seine — a rocky mass that is “literally going to break the landscape,” he said.

Two experiences: the city, then the cave

JR said there will be two main ways for people to experience his installation. From the outside, those heading to Pont Neuf will see the giant installation hundreds of meters away.

And from the inside, once visitors enter the “cave” on Pont Neuf, they will be able to walk through a long tunnel-like structure, having a feeling of “total immersion,” he said.

The cave will allow no daylight in and once inside, visitors “will lose track of time,” JR said.

A key collaborator on the project is Thomas Bangalter, a former member of French rock band Daft Punk who is creating the sound to accompany the installation — “something you’ll only hear from the inside,” JR said.

Snap’s AR studio in Paris is developing the augmented reality technology. Visitors will be able to use their smartphones to “experience and see things that you can’t see with your eyes,” JR said.

He is intentionally mysterious about what that is — keeping it a surprise until closer to the opening.

JR’s team conducted extensive engineering studies, including tests in a hangar at Paris’ Orly airport, to understand how the structure behaves, especially in an emergency when the electricity that fuels the cave’s air supply cuts off. Tests show the structure stays the same. There is also the security question — the bridge is a busy zone, especially during Paris’ tourist-packed early summer.

JR said visitor numbers will be limited at any given time, and that his team is consulting with authorities on that. During the three weeks of the exhibition, the installation will be continuously monitored.

A cave, and a metaphor

JR is best known for his large-scale art — enormous portraits pasted on buildings, border walls and rooftops. Because of his origins in graffiti and street art he has inevitably drawn comparison with Banksy, the elusive U.K.-based artist famous for his huge murals and activism.

JR’s installation will not have any massive faces, but the theme is still human, he says: gathering, connection, and what people project onto a shared space.

He says his installation is also an allusion to Plato’s allegory of the cave in which chained men interpret shadows on the cave wall as reality, ignorant of the real world outside — and compares that to the fake reality created by the visual world of our social media platforms.

“What are our caves today is our phone,” JR said, “because we … believe that … our algorithm on social media … is the reality.”

During the installation, which will coincide with June’s Paris Fashion Week and World Music Day, the bridge will close to traffic.

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 JESSICA DAMIANO

I’m currently dusting off my seed-starting supplies and sorting through seed packets from years past. Seed starting is an annual ritual for many gardeners, but if you’re new to the party, it would be helpful to know that not all seeds should be treated the same way.

Many seeds only require soil and water to sprout. Others, however, have a harder coating that makes germination a bit difficult. That’s because in the wild, they rely on birds and other wildlife that eat them to carry them far distances before dropping them.

It’s a good plan: The journey ensures biodiversity by introducing the species to another location. And the seed’s tough outer coating ensures its survival through an animal’s digestive tract, which erodes only enough of the protective layer to allow water to enter. The remaining coating prevents the seed from waking up too early, which would otherwise spell death for tender sprouts in cold temperatures.

But nature’s survival plan creates a bit of a challenge for home gardeners because the hard coating prevents those seeds from sprouting easily. So it’s up to us to mimic the effects of stomach acid to expose the seed’s inner layer so that moisture can penetrate.

This is called scarification, and there are a few ways to do it, all of which are simple.

Sanding

Rub each seed lightly against medium-grit sandpaper, an emery board or a nail file until you see a hint of its paler inner layer. This method works best with larger seeds, but you can also tuck several small ones between two sheets of sandpaper and gently rub the sheets together. Just a little friction should do the trick.

Nicking

Sometimes I use small nail clippers intended for babies to snip a tiny sliver off the edge of the seed’s coat.

Soaking

If you have more time than wherewithal, this is the easiest method: Place the seeds in a bowl, cover them with warm water, and let them sit for a few hours or overnight. They’ll swell slightly as they take in moisture, which is exactly what you want.

Some tips

Never use hot water; cooked seeds won’t grow. Keep the temperature below 150 degrees Fahrenheit. And whatever method you choose, do it right before planting. Once the seed’s inner tissue is exposed, it will begin to dry out.

Is scarification absolutely required? No. Seeds will often sprout without it, but it could take much longer, and you’ll likely end up with far fewer seedlings. Scarified seeds don’t have to wait around for their coats to break down under soil, which is a real advantage if your growing season is short, your elevation is high or you’re a procrastinator.

Some common annuals and perennials that benefit from the practice include Indian mallow (Abutilon), columbine (Aquilegia), hollyhock (Alcea), sweet alyssum (Alyssum), milkweed (Asclepias), wild indigo (Baptisia), beautyberry (Callicarpa), bellflower (Campanula), Joe Pye weed (Eutrochium), sweet pea (Lathyrus odoratus), bluebonnet (Lupine), mallow (Malva), poppy (Papaver), beardtongue (Penstemon) and nasturtium (Tropaeolum).

Edibles to scarify include all bean types, luffa, spinach, strawberry and winter squash.

Some of the really stubborn seeds — chickpeas, lima beans, nasturtiums — respond well to a one-two approach: a little nick or sanding, followed by a soak.

Jessica Damiano writes weekly gardening columns for the AP and publishes the award-winning Weekly Dirt Newsletter. You can sign up here for weekly gardening tips and advice.

For more AP gardening stories, go to https://apnews.com/hub/gardening.

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.

By ADITHI RAMAKRISHNAN The Associated Press

NEW YORK (AP) — Horses whinny to find new friends, greet old ones and celebrate happy moments like feeding time.

How exactly horses produce that distinctive sound — also called a neigh — has long eluded scientists.

The whinny is an unusual combination of both high and low pitched sounds, like a cross between a grunt and a squeal — that come out at the same time.

The low-pitched part wasn’t much of a mystery. It comes from air passing over bands of tissue in the voice box that make noise when they vibrate. It’s a technique similar to how humans speak and sing.

But the high-pitched piece is more puzzling. With some exceptions, larger animals have larger vocal systems and typically make lower sounds. So how do horses do it?

According to a new study, they whistle.

Researchers slid a small camera through horses’ noses to film what happened inside while they whinnied and made another common horse sound, the softer, subtler nicker. They also conducted detailed scans and blew air through the isolated voice boxes of dead horses.

The whinny’s mysterious high-pitched tones, they discovered, are a kind of whistling that starts in the horse’s voice box. Air vibrates the tissues in the voice box while an area just above contracts, leaving a small opening for the whistle to escape.

That’s different from human whistling, which we do with our mouths.

“I’d never imagined that there was a whistling component. It’s really interesting, and I can hear that now,” said Jenifer Nadeau, who studies horses at the University of Connecticut. Nadeau was not involved with the study, which was published Monday in the journal Current Biology.

A few small rodents like rats and mice whistle like this, but horses are the first known large mammal to have a knack for it. They’re also the only animals known to be able to whistle through their voice boxes while they sing.

“Knowing that a ‘whinny’ is not just a ‘whinny’ but that it is actually composed of two different fundamental frequencies that are created by two different mechanisms is exciting,” said Alisa Herbst with Rutgers University’s Equine Science Center, of the study in an email.

A big lingering question is how horses’ two-toned calls came to be. Wild Przewalski’s horses can do something similar, as can elks. But more distant horse relatives like donkeys and zebras can’t make the high-pitched sounds.

The two-toned whinnies could help horses convey multiple messages at the same time. The differently pitched neighs may help them express a more complex range of feelings when socializing, said study author Elodie Mandel-Briefer with the University of Copenhagen.

“They can express emotions in these two dimensions,” Mandel-Briefer said.

—-

Associated Press video journalist James Brooks contributed to this report.

The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Department of Science Education and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.

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.

What are the worst tourist traps in the world? What attractions live up to the hype?

Stasher, a company that hooks travelers up with temporary luggage storage, weighs in with its blog post, “World’s Best and Worst Tourist Attractions, Ranked.” These rankings were calculated by considering five factors: online ratings, TikTok likes, distance from an airport, the country’s safety and quality of local lodging.

Ergo, Stasher has determined the worst tourist attraction in existence is the Hollywood Walk of Fame. “Located 38.1 km from the LAX airport, this sidewalk of celebrity stars had the lowest Google rating and safety score,” it writes. Other sites that supposedly suck in terms of a visitor experience include Disneyland Paris and the Dead Sea, dinged for “accessibility challenges” and “regional instability.”

Conversely, places that scored high include Utah’s Bryce Canyon National Park and the Smithsonian National Museum of Natural History in Washington, D.C. Here are the first five from each list; check out the full post for more.

Stasher’s best and worst tourist attractions in the world

Worst:

1 Hollywood Walk of Fame, L.A.

2 The Dead Sea

3 The Grand Bazaar, Istanbul

4 Great Wall of China

5 Victoria Harbour, Hong Kong

Best:

1 Sagrada Familia, Barcelona

2 Colosseum, Rome

3 Eiffel Tower, Paris

4 Milford Sound, New Zealand

5 Walt Disney World, Florida

Source: stasher.com/blog/worlds-best-and-worst-tourist-attractions-ranked

As filmmaker Baz Luhrmann was deep into his work on “Elvis,” his 2022 biopic of Elvis Presley, an idea struck him: What if he wove real-life footage of Presley into concert scenes of actor Austin Butler as Elvis?

He reached out to his Elvis experts and quickly heard back.

“This wonderful man called,” Luhrmann says on a recent video call from the Chateau Marmont in West Hollywood. “Ernst [Mikael Jorgensen] is like the scientist of all things Elvis, and he says, ‘I think there are these lost reels.’”

Jorgensen told him that they might not be easy to get, if they’re even gettable at all, Luhrmann says.

“Unfortunately, they’re in the salt mines in Kansas where they keep all the negatives of everything,” he says of the underground vault in Kansas where many Hollywood studios store their original negatives and master copies.

It’s too expensive to go down, Jorgensen told Luhrmann. But maybe you can get to them, he added.

“I think, ‘Well, maybe I can use the footage in the showroom [scenes in Las Vegas],” Luhrmann continues. “Like to sort of deal with budget.

“We met, and it cost a lot to get down there,” he says. “About $100,000 just to go down and look.”

But what he found there was priceless: 65 boxes of never-before-seen footage from the concert documentaries “Elvis: That’s the Way It Is,” shot in 35mm anamorphic film at the International Hotel in Las Vegas in August 1970, and “Elvis on Tour,” filmed at arena shows in New York, Virginia, Florida and Texas in 1972.

Angie Marchese, vice president of archives and exhibits at Graceland, came up with a few more boxes of unseen footage, a stash of Super 8 movies of Elvis that included rare footage of Elvis with his wife, Priscilla Presley, and only child, Lisa Marie Presley.

Now, Luhrmann had 59 hours of extremely rare footage and the irresistible opportunity to do much more than he’d initially considered.

“And then we find this half hour of audio of Elvis just talking about his life,” Luhrmann says of the epiphany that he and longtime editor Jonathan Redmond experienced as they worked through the archival negatives. “I said, ‘This is it. We’ve got to let Elvis just tell his own story.’

“Because Elvis stuff is always someone telling you about it,” he continues. “That was the light bulb moment. It was that and then all the song choices that help tell the story, you know?”

“EPiC: Elvis Presley in Concert” opened in IMAX theaters on Friday, Feb. 20, and opens in movie theaters everywhere on Friday, Feb. 27.

It’s a remarkable look at Elvis, the untouchable icon restored to his flesh-and-blood humanity through a forgotten trove of film footage that had sat for decades in a vault hundreds of feet below the Kansas plains.

In an interview edited for length and clarity, Luhrmann talks about why he wants everyone to see it on the biggest screen possible, what it took to restore the film and audio, how he fell for Elvis as a boy growing up in Australia, and more.

Q: So you must be a busy guy this week.

A: I’m good, man. It’s like “EPiC” weekend, so you do everything you can. By the end, you just hope enough people come to see the man on the big screen.

Q: I saw it earlier this week in IMAX, and it’s so impressive. People are going to come see this.

A: I hope so. I love the fact that you saw it in IMAX. I’m really glad you took the time because I just think the nature of the subject is there’s no screen big enough for Elvis, you know?

Q: So tell me how you started to explore all those boxes of film.

A: Well, we bring the stuff back to Warner’s, and it smells so strongly of vinegar, which means it’s falling apart. And some is missing, and some is mislabeled, and there’s no sound. So the first thing we do is I convince Warner’s to scan it because it’s going to disappear. Then we spent two years finding mag track [magnetic tape used to sync the audio track to the film images]

We were able to get the mag track, which gave us voices and the band. But a lot of the micing on the orchestra, the Sweets [backing vocalists the Sweet Inspirations], and the gospel singers was a bit up and down.

We wanted to do it in five months. It took two years to sync the sound with the pictures.

Q: Your new film – is that all stuff that’s never been seen before? Or does it include material from the original concert films?

A: Yeah, that’s a good question. There will be some bits that are in the previous doc, but there’s a lot in there where people think, “Oh, I’ve seen that before.” And they might have seen that, but they wouldn’t have seen that camera or that take or that night. [Eleven cameras simultaneously shot performances for the 1972 movie.]

And if you notice, his costume changes all the time, and we didn’t care about that. We didn’t care that in one song we got six versions. The third thing is they would have seen online and on YouTube lots of bootleg. There’s a huge black market in stolen stuff. So even with the sound, sometimes we had deal with gangsters in carparks to get a little bit of missing sound.

There are a few actual bits where we’ve gone, “Ah, that’s what we need to join that to those other two shots [by inserting a piece from the ’70s films between newly discovered footage]. It’s very small. I don’t know what the percentage is.

Q: Watching the movie, I was struck by how real and how human he seemed here.

A: That’s it, that’s it. Like he says in the film, there’s the image, and there’s the man. When you see as much material as I have, you really realize that there’s the humor and the goofiness, too. I think that’s him disarming everyone so they get past the icon and they see the man.

Q: What else struck you as you worked through the footage?

A: Some things really jumped out. There’s some things we couldn’t use because it just didn’t have the focus of the story. You realize he just kind of hung with people, and he’s very human, very empathetic, very polite. And he’s always goofing, because I think he’s just damn shy, and he’s trying to disarm everyone.

It’s like Whitney Houston said. Her mom [Cissy Houston] was in the original Sweets the year before. And she meets Elvis, she was probably 10 or something. She said he walked in the room with a fur coat on, and it wasn’t like, “Hello, Mr. Elvis.” She said, you just stare. You freeze and stare. Because of the way he looks, you know? So there was a lot of that

It’s happening quite a bit actually now. People not into Elvis at all, they know the caricature. But they come out of this film, they go, “Who is this guy? I love this guy!” Because he’s human.

Q: Tell me how the unused audio of Elvis talking about his life was recorded.

A: In the tour, there’s a little bit you see, and he looks very tired. He’s talking about, “Well, I like all kinds of music,” and he talks about gospel, and he says, “Look, I’m too tired. I’ll do it in the morning.”

And when he comes back, he says, “Guys, I can’t be on camera. I’ll just talk.” So they never used the talking bit. That’s where he goes, “I got a whipping from my mother,” and that same bit is where he goes, “I was very shy, you know.” About girls liking him after he started singing.

Q: What needed to be fixed or restored in the film and the audio? And how did you go about it?

A: Yeah, one thing I want to be really clear about: there’s not a frame of AI. Some people said, ‘Oh, it’s AI.” No, no, no. There’s no AI, and there’s no visual effects. But [filmmaker] Peter Jackson, the magician, and his wonderful team at Park Road, we gave them the anamorphic.

I don’t know if you know about anamorphic 35mm, but it’s squashed. And when you stretch it, you just sort of head towards a possible 70mm. You get a lot more out of it. What [Jackson] does is, he’s able to go frame by frame and take out aberrations and really help the grain. There’s 8mm footage in that’s the size of two buildings, and it still holds up.

He’s just brilliant at that. Peter, I mean, he’s a savior of many, many things. He did it with the Beatles [the docuseries “Get Back”]. Love that piece.

And with the sound, some of it we had to do remixes, some we take three [versions of] songs and make new works because we couldn’t just do everything straight off the stage. A lot of it is. I mean, “Suspicious Minds” is just remixed.

Q: The editing is such a terrific part of storytelling. How did you and Jonathan go about that?

A: The process was once we said let him tell the story, we worked out parts. Like, “OK, now he’s going to talk about his Hollywood years, now he’s going to talk about relationships, now he’s going to talk about his feelings.”

You know, when he was asked about politics, he says, “Well, I’m just an entertainer.” They seldom play the second clip where he’s asked, “Should other people speak about their politics?” and he says, “Sure.” Then we put “In The Ghetto” and that other lovely song [“Walk a Mile in My Shoes”] where he goes “There are people on reservations and in ghettos and there but for the grace of God go you.” It’s a very empathetic song.

Then take the cut of “Poke Salad Annie,” which I think is brilliant. Jonathan is a brilliant cutter, anyway. He started with U2 when he was a kid, but he’s worked with me for years, and we make these, like, tone poems. Poetry, more than linear. The vibes of the movie. But it had to be guided by Elvis’s story, and the way we did it was by this question: What would Elvis have done?

Q: You don’t use the usual documentary talking heads – were there models for that for you?

A: The only one I can think of that I actually really enjoyed was that documentary [“Listen to Me Marlon”] where they found all these tapes that Brando did. I was a big Brando fan, and at one stage, Marlon Brando was maybe going to be in “Romeo + Juliet,” believe it or not. I have some very treasured letters from Marlon Brando.

I just loved the way you heard Marlon just talking [in the documentary]. It made you fall in love with Marlon all over again, just the way he illuminated things. [He does a quite good impression of Brando talking about Cary Grant.] I love that stuff. I just think you can’t beat it having someone actually tell their story.

Q: What was it like when you showed “EPiC” to Priscilla and Riley?

A: Actually, Priscilla’s only seeing it for the first time next week, and Riley’s about to see it, too. But I want to explain something. First of all, they were so supportive during the making of the [“Elvis” biopic]. But since then, it was a great sadness of what was a beautiful journey. [Lisa Marie Presley, Priscilla Presley’s daughter with Elvis, and Riley Keough’s mother, died in January 2023.]

Right in this building, after the Golden Globes, I remember Lisa Marie saying, “Can you help me down to the car?” And of course, she was gone a few days later. [“EPiC”] is about Elvis, but for Riley, it’s about mom, and for Priscilla, it’s about her daughter. There’s some really poignant unseen 8mm in there that no one’s ever seen of Lisa Marie as a little baby, you know?

I think they need to see it in their own time. Just anywhere that suits them. I mean, I love them, so anytime, anywhere they need it, I’ll make it happen.

Q: As a boy growing up in Australia, how’d you first encounter Elvis and become such a fan?

A: We lived in a very isolated little country town. We had a gas station on the highway through it, and we had a farm. Dad was super industrious. He was in the Vietnam War. So we had artists living with us, and we did everything from command training to ballroom dancing to learning how to shoot film and process photography.

At a certain point, we [owned] the local cinema, and there were Elvis matinees every Sunday. So that was my intro, and I just thought he was the coolest guy in the world, you know? I probably think differently about “Easy Come, Easy Go” now, but then I thought, “Wow, look at that guy in that black sweater.” I wanted to be him.

Then he loomed large, but in life, I ran away and grew and [explored] opera and Bowie and all sorts of different musical forms. He was there, but not in the same way. I’m a great admirer, as I was making films, of “Amadeus,” and a lot of people wanted me to do different musical bios.

Yes, you learn about a lot about Mozart [in “Amadeus”], but it’s really about jealousy then. And I thought, well, if you want to make “Amadeus” for America, it’s Elvis because of this relationship between the Colonel [Tom Parker] and Elvis.

One is the great salesman, promoter, and the other sort of what [the Colonel] thought was a carnival act but turned out to be sort of Orpheus. Sort of Greek, mythical, very sensitive and gifted. A singer, mover, creator. Remember, Elvis didn’t have a choreographer; Elvis didn’t have a stylist.

Q: He just made that up on his own. You see him playing around and seeing what works in “EPiC.”

A: Well, as he says, “I just do what I feel.” And that’s kind of interesting, because that kept the band always having to watch him, and they never knew what he was going to do. Neither did the audience, and that makes it really spontaneous.

By Linda Gassenheimer, Tribune News Service

Chicken simmered in a tomato sauce infused with onion, green pepper, and paprika forms the comforting foundation of this Hungarian goulash.

The key to its authentic flavor is using good-quality Hungarian paprika. It’s available in both mild and hot varieties and found in most supermarkets. This rich, savory goulash is served over pappardelle, a broad, flat pasta similar to extra-wide fettuccine, perfect for catching every spoonful of sauce.

HELPFUL HINTS:

• Any type of pasta can be used.
• Any type of sliced mushroom can be used.

To save preparation time, use diced onion and green pepper found in the produce section.

COUNTDOWN:

Place water for noodles on to boil.

Make goulash.

Boil pasta.

SHOPPING LIST:

To buy: 1/2 pound cooked boneless, skinless chicken breast, 1 jar reduced sodium marinara sauce, 1 green bell pepper, 1 medium tomato,1 container sliced portobello mushrooms, 1 small container reduced fat sour cream, 1 bottle Hungarian paprika, 1 container caraway seeds, 1 package pappardelle

Staples: olive oil, onion, salt, black peppercorns

Chicken Hungarian Goulash

Recipe by Linda Gassenheimer

• 2 teaspoons olive oil
• 1/2 cup diced onion
• 1 cup diced green bell pepper
• 1 cup sliced portobello mushrooms
• 1 tablespoon Hungarian paprika or 1 1/2 tablespoons ordinary paprika
• 1 cup reduced sodium marinara sauce
• 1/2 pound cooked boneless skinless chicken breast 1/2-inch pieces
• Salt and freshly ground black pepper
• 2 tablespoons reduced fat sour cream
• 1 medium tomato cut into wedges

Heat olive oil in a nonstick skillet over medium high heat and add onion, green pepper and mushrooms. Saute 3 minutes. Sprinkle paprika over vegetables and saute 2 minutes. Add marinara sauce and simmer 1 minute. Add chicken and salt and pepper to taste. Remove from heat and serve over pappardelle. Dot the goulash with sour cream. Arrange tomatoes on the side.

Yield 2 servings.

Per serving: 369 calories (32 percent from fat), 13.0 g fat (3.0 g saturated, 4.3 g monounsaturated), 114 mg cholesterol, 38.0 g protein, 26.5 g carbohydrates, 7.1 g fiber, 132 mg sodium.

Caraway Pappardelle

Recipe by Linda Gassenheimer

• 1/4 pound pappardelle (about 1 1/2 cups)
• 2 teaspoons olive oil
• 1 tablespoon caraway seeds
• Salt and freshly ground black pepper

Bring a large pot with 2 to 3 quarts of water to a boil. Add the pappardelle and boil 3 to 4 minutes or according to package instructions. Drain leaving about 2 tablespoons water on the pappardelle. Toss with olive oil and caraway seeds and salt and pepper to taste. Divide in half and serve on two dinner plates with the Goulash.

Yield 2 servings.

Per serving: 262 calories (20 percent from fat), 5.8 g fat (0.8 g saturated, 2.5 g monounsaturated), no cholesterol, 8.1 g protein, 44.1 g carbohydrates, 3.0 g fiber, 3 mg sodium.

©2026 Tribune Content Agency, LLC

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.”

By Miriam Fauzia, The Dallas Morning News

DALLAS — While Valentine’s Day is a time to celebrate love, for the 250 million roses and other floral bouquets produced for the holiday, it means a slow death.

That countdown is driven in part by ethylene, a natural plant hormone that speeds up aging in cut flowers. Researchers at the University of Texas at Arlington are testing new ways to blunt ethylene’s effects, with the goal of helping bouquets and fresh produce last longer. Here’s what to know.

What is ethylene?

Plants produce ethylene — an odorless, colorless gas — as they age, when damaged and in response to shifts in temperature, sunlight and other environmental stressors.

“Ethylene plays a vital role in nature, from fruit ripening to leaf drop to seed germination,” Rasika Dias, a professor of chemistry and biochemistry at UT Arlington leading the research, said in a news release. “For instance, fruits such as bananas, avocados and pears ripen because of ethylene. This ripening process transforms starch into sugars, which explains why ripe fruit tastes sweet.”

Because ethylene can drift through the air, it can affect nearby plants, which is why a ripe banana can speed the ripening of other fruit. Depending on how much ethylene is circulating, the gas can visibly age a plant, triggering the yellowing and dropping of leaves, and shortening how long a bouquet can last, according to the American Floral Endowment.

Shipping and storage can amplify those aging effects. Stress and mechanical damage can spur plants to release more ethylene, hastening deterioration unless growers and distributors intervene with anti-ethylene treatments.

Switching off ethylene

To slow ethylene’s effects, floral and produce industries often use 1-methylcyclopropene, or 1-MCP, a chemical discovered in the mid-1990s. It works like an ethylene decoy, attaching to the same places in plant cells that ethylene normally would. But unlike the gas, 1-MCP doesn’t trigger ripening or aging. Instead, it blocks ethylene’s signal from getting through, slowing a plant’s wilting or a fruit’s ripening.

But using 1-MCP has drawbacks. The chemical is highly reactive, can be tricky to handle and typically must be applied in sealed or enclosed spaces to work effectively, according to the American Floral Endowment. And because its effects can last for an extended period, 1-MCP may prevent some fruits from ripening.

With support from the American Floral Endowment and the United States Department of Agriculture, Dias and his lab at UT Arlington are testing alternatives to 1-MCP that aren’t volatile. Some of the most promising candidates include compounds built around metals such as copper. To see whether they slow the wilting process, the researchers take about 30 freshly cut flowers and divide them into three groups: untreated, treated with existing commercial products and treated with the new compounds.

“You monitor how long each group lasts — how fast petals drop, how quickly they wilt,” Dias said in the news release. “If the treated flowers last significantly longer than the untreated ones, that compound shows promise.”

In addition to helping with flowers, Dias hopes the research will reduce food waste. In 2019, 66.2 million tons of wasted food were generated in the food retail, food service and residential sectors, with about 60% ending up in landfills; another 40.1 million tons came from food and beverage manufacturing and processing, according to a 2019 report by the Environmental Protection Agency.

“Fruits and vegetables are thrown away when they over-ripen — bananas turn brown, tomatoes become too soft and people won’t buy them,” Dias said. “This is a major issue during shipping, since most food travels long distances. Without treatment, much of it deteriorates before reaching stores. That’s a huge economic and food-security problem.”

Miriam Fauzia is a science reporting fellow at The Dallas Morning News. Her fellowship is supported by the University of Texas at Dallas. The News makes all editorial decisions.

©2026 The Dallas Morning News. Distributed by Tribune Content Agency, LLC.