NEW YORK — Dabney Coleman, the mustachioed character actor who specialized in smarmy villains like the chauvinist boss in “9 to 5” and the nasty TV director in “Tootsie,” has died. He was 92.

Coleman died Thursday, his daughter, Quincy Coleman, told The Hollywood Reporter. No other details were immediately available.

“The great Dabney Coleman literally created, or defined, really — in a uniquely singular way — an archetype as a character actor. He was so good at what he did it’s hard to imagine movies and television of the last 40 years without him,” Ben Stiller wrote on X.

For two decades Coleman labored in movies and TV shows as a talented but largely unnoticed performer. That changed abruptly in 1976 when he was cast as the incorrigibly corrupt mayor of the hamlet of Fernwood in “Mary Hartman, Mary Hartman,” a satirical soap opera that was so over the top no network would touch it.

Producer Norman Lear finally managed to syndicate the show, which starred Louise Lasser in the title role. It quickly became a cult favorite. Coleman’s character, Mayor Merle Jeeter, was especially popular and his masterful, comic deadpan delivery did not go overlooked by film and network executives.

A six-footer with an ample black mustache, Coleman went on to make his mark in numerous popular films, including as a stressed out computer scientist in “War Games,” Tom Hanks’ father in “You’ve Got Mail” and a fire fighting official in “The Towering Inferno.”

He won a Golden Globe for “The Slap Maxwell Story” and an Emmy Award for best supporting actor in Peter Levin’s 1987 small screen legal drama “Sworn to Silence.” Some of his recent credits include “Ray Donovan” and a recurring role on “Boardwalk Empire,” for which he won two Screen Actors Guild Awards.

In the groundbreaking 1980 hit “9 to 5,” he was the “sexist, egotistical, lying, hypocritical bigot” boss who tormented his unappreciated female underlings — Jane Fonda, Lily Tomlin and Dolly Parton — until they turned the tables on him.

In 1981, he was Fonda’s caring, well-mannered boyfriend, who asks her father (played by her real-life father, Henry Fonda) if he can sleep with her during a visit to her parents’ vacation home in “On Golden Pond.”

Opposite Dustin Hoffman in “Tootsie,” he was the obnoxious director of a daytime soap opera that Hoffman’s character joins by pretending to be a woman. Among Coleman’s other films were “North Dallas Forty,” “Cloak and Dagger,” “Dragnet,” “Meet the Applegates,” “Inspector Gadget” and “Stuart Little.” He reunited with Hoffman as a land developer in Brad Silberling’s “Moonlight Mile” with Jake Gyllenhaal.

Coleman’s obnoxious characters didn’t translate quite as well on television, where he starred in a handful of network comedies. Although some became cult favorites, only one lasted longer than two seasons, and some critics questioned whether a series starring a lead character with absolutely no redeeming qualities could attract a mass audience.

“Buffalo Bill” (1983-84) was a good example. It starred Coleman as “Buffalo Bill” Bittinger, the smarmy, arrogant, dimwitted daytime talk show host who, unhappy at being relegated to the small-time market of Buffalo, New York, takes it out on everyone around him. Although smartly written and featuring a fine ensemble cast, it lasted only two seasons.

Another was 1987’s “The Slap Maxwell Story,” in which Coleman was a failed small-town sportswriter trying to save a faltering marriage while wooing a beautiful young reporter on the side.

Other failed attempts to find a mass TV audience included “Apple Pie,” “Drexell’s Class” (in which he played an inside trader) and “Madman of the People,” another newspaper show in which he clashed this time with his younger boss, who was also his daughter.

He fared better in a co-starring role in “The Guardian” (2001-2004), which had him playing the father of a crooked lawyer. And he enjoyed the voice role as Principal Prickly on the Disney animated series “Recess” from 1997-2003.

Underneath all that bravura was a reserved man. Coleman insisted he was really quite shy. “I’ve been shy all my life. Maybe it stems from being the last of four children, all of them very handsome, including a brother who was Tyrone Power-handsome. Maybe it’s because my father died when I was 4,” he told The Associated Press in 1984. “I was extremely small, just a little guy who was there, the kid who created no trouble. I was attracted to fantasy, and I created games for myself.”

Dabney Coleman — his real name — was born in 1932 in Austin, Texas. After two years at the Virginia Military Academy, two at the University of Texas and two in the Army, he was a 26-year-old law student when he met another Austin native, Zachry Scott, who starred in “Mildred Pierce” and other films.

“He was the most dynamic person I’ve ever met. He convinced me I should become an actor, and I literally left the next day to study in New York. He didn’t think that was too wise, but I made my decision,” Coleman told The AP in 1984.

Early credits included such TV shows as “Ben Casey,” “Dr Kildare,” “The Outer Limits,” “Bonanza,” “The Mod Squad” and the film “The Towering Inferno.” He appeared on Broadway in 1961 in “A Call on Kuprin.” He played Kevin Costner’s father on “Yellowstone.”

Twice divorced, Coleman is survived by four children, Meghan, Kelly, Randy and Quincy.

malingered magnificently as the headliner in 2022. was a keening Banshee in 2023 in a performance at the Brookside at the Rose Bowl festival grounds.

This year, with bands such as , , Adam Ant, and Simple Minds also on the bill, the headliner experience was something altogether diffferent.

, the ever-stylish English new wave group, headlined Cruel World on Saturday. The band has enjoyed a deserved resurgence in popularity post-pandemic with its induction into the Rock & Roll Hall of Fame in 2022 and a popular tour that featured two sold-out nights at the Hollywood Bowl.

The 90-minute set was as colorful as the cream and lavender jackets worn by singer Simon LeBon and keyboardist Nick Rhodes, as sharp as bassist John Taylor’s cheekbones, and as powerful as Roger Taylor’s drums.

And, above all else, it was fun: How could it not be with so many hits in the Duran Duran catalog and so many memories for a crowd full of fans who were there when Duran Duran videos ruled MTV in the ’80s?

After opening with “The Chauffeur,” one of the few deep cuts in the set, Duran Duran jumped straight into the hits – “Wild Boys,” “Hungry Like the Wolf,” and “A View to a Kill,” their James Bond movie theme followed in quick succession.

“The last month we’ve just been thinking (about Cruel World) and how we’re going to make it the best thing possible,” Le Bon told the crowd in the middle of that run of songs. “And now we’re here and it’s happening!”

All four original Durannies are in their early to mid-60s – older like their original fans, but young for elder statesmen of rock – and they and the touring musicians and backing vocalists all sounded strong throughout the performance. The middle of the set slowed things down a little with songs such as “Careless Memories,” “Ordinary World,” and “New Moon on Monday.”

The end of their night raced through more up-tempo bops. “The Reflex” and a mashup of Duran Duran’s “Girls on Film” with the Talking Heads’ “Psycho Killer” – they covered the latter song on the 2023 album “Danse Macabre” – finished off the main set.

“Save a Prayer” opened the encore with the field in front of the stage awash in twinkling cell phone lights before “Rio” sent the crowd and the festival home for another year.

Here’s what else we caught while wandering between the three stages at Cruel World on Saturday:

A rare reunion: Tones On Tail, a side project of guitarist Daniel Ash and drummer Kevin Haskins, reunited at Cruel World to play its first show since 1984, the same year it released “Pop,” the group’s one album. More post-punk than goth, Tones of Tail impressed those who’d slipped away from Duran Duran on the main stage to hear Ash scatter shards of electric guitar atop Haskin’s expressive drumming and the loping basslines of Diva Dompe, Haskins’ daughter.

With Saturday’s performance, Ash and Haskins have now played all three years of Cruel World in all three bands they share – Bauhaus was there in 2022, and last year, Love and Rockets performed. Highlights included the jazzy swing of “Happiness,” “Lions,” and “Go!” which, alas, we missed to head back for the final run of Duran Duran.

New kids, old block: Cruel World isn’t strictly a day for older acts. New groups inspired by the OG bands on the bill also show up, and on Saturday a trio of those stood out.

, which includes the three guys from – bassist Tony Kanal, guitarist Tom Dumont and drummer Adrian Young – is fronted by singer Davey Havok of AFI. They play a kind of modern new wave and fans at the main stage in the late afternoon responded strongly to songs such as “We Rats,” “Kill For Candy,” and a cover of David Bowie’s “Moonage Daydream.”

After nightfall, two more relatively younger bands showed off what they’ve learned from their post-punk elders, with the English band Placebo mixing singer Brian Molko’s electric guitars with shimmering synths on fan favorites such as “Every You, Every Me” and “Special K,” and the American band Interpol as powerful as always on highlights that include “The Rover” and “Rest My Chemistry.”

Rule Britannia: So much of the music of Cruel World has roots in the United Kingdom, and this year a handful of British bands made their Cruel World debuts.

Simple Minds drew a large crowd to the second stage for its anthemic Scottish rock. “Promised You a Miracle,” “All The Things She Said,” and a cover of the Call’s “The Walls Came Down” were all great singalongs, but they paled in comparison to the response to “Don’t You (Forget About Me),” the band’s biggest hit thanks to its placement in the soundtrack to “The Breakfast Club.” To hear the crowd sing an extended take on its melody as the sunset on the Arroyo Seco was truly moving.

Fellow Scots the Jesus and Mary Chain were also powerful on noisy pop that included songs such as “Happy When It Rains,” “Head On,” and “Just Like Honey,” while Heaven 17’s glossy synth-pop had the crowd dancing to tunes including “Let Me Go” and “Penthouse and Pavement.” and a cover of Bowie’s “Let’s Dance.”

Bowie is also a touchstone for Gary Numan, whose chilly synths and guitars owe a lot to Bowie’s Berlin era. Numan returned to Cruel World on Saturday to play his solo debut album “The Pleasure Principle” in full, and the set felt much more successful than his 2023 turn which featured newer, less satisfying material.

New band, old beats: x Budgie x Jackknife Lee is a new trio made up of the Cure’s original drummer Tolhurst, Siouxsie and Banshee’s drummer Budgie, and Irish producer Lee. Their debut album “Los Angeles” arrived near the end of 2023, with guest vocalists singing vocals over the dual-drumkits and guitar of the band.

Isaac Brock of Modest Mouse sang on the album, and he along with album guests Arrow De Wilde of L.A. band Starcrawler and rapper-trumpeter Pan Amsterdam showed up to Cruel World to perform their songs live. Brock also stuck around for a cover the Cure song “A Forest,” another highlight in a day full of them.

Rubin, 64, died Friday at home, apparently after a heart attack. He’d called in sick Friday, one day after interviewing actress Jane Seymour on the Morning ɫ����̳ with no sign of anything wrong.

As news of his death spread, the loss — to celebrities, viewers, colleagues, friends and family — felt profound.

“He made you feel special every single time and I am not the only person who felt that warmth every time they sat down at your desk,” actor Henry Winkler said on a call into KTLA as the station reported on his death and remembered his many years behind the Morning ɫ����̳ anchor desk in his chair on the right side of your screen.

“He made every human being feel so special, and then got them to open up like a flower,” Winkler continued. “My heart goes out to his family, to you, his colleagues. He will be so missed. I am so overwhelmed that he won’t be here with us.”

“The Sam that you saw on the air is the Sam that was off the air,” said KTLA news anchor Frank Buckley, who struggled to keep his composure as he broke the news of Rubin’s death to viewers just after midday Friday.

“I am heartbroken,” wrote Mariane McLucas on the KTLA Facebook post announcing that Rubin had died. “Sam was like a family member. Every morning I watched him. We chatted on social media many, many times over the years. Such a nice man, such a fun loving soul. I’m just broken up.”

In his interviews, Rubin often seemed like a fan who had lucked into a job as a entertainment journalist. Not that he wasn’t anything less than a very talented professional broadcast journalist. He just so clearly loved his work in a pinch-me-do-I-really-get-to-do-this way.

Often he might open an interview with some off-the-wall question to catch a media-trained entertainer off guard as a way to break the ice.

“Is it shampoo and condition? Or just shampoo? What is the hair regimen, Jared, good morning to you,” Rubin once asked Jared Leto to kick off their interview. The long-tressed actor-musician laughed and played along — “Well, you know, my friend, it’s a toupee” — and Rubin howled with laughter.

At the Oscars in 2018, Rubin ended up talking with Common and Tiffany Haddish, and ultimately, cheekily, suggested they might be a good match so why not go on a date? A few years later, they were a couple, and Rubin was beyond pleased with his matchmaking self.

Rubin was always game to play along with anything guests invited him to do. Invitations to dance were never declined whether it was the K-pop boy band Ateez teaching him one of their moves on air last year, or Rubin jokingly offer to join Destiny’s Child many years earlier.

“Could I do backup with you guys?” Rubin asked the trio as he demonstrated his talents. “Ahhh, I think you got a little work to do,” Beyoncé replied, trying not to laugh at his herky-jerky moves.

Rubin often talked about his own life on the air, such as his adventures with his wife Leslie and their four children. His KTLA colleagues laughed as they recalled how much Rubin hated camping and how cheerfully he would go when it was an outing with one his kids.

In 2012, he flew to New York City to do a press junket with Ryan Gosling for “The Place Beyond the Pines,” primarily because his 17-year-old daughter Perry threatened to stop talking with him if he didn’t meet her favorite actor and ask him a few very specific questions for her. Rubin did, Gosling was impressed with the questions, and Perry surely was thrilled.

Like any journalist, do the job long enough and you’ll make a mistake. Rubin had the ability to apologize, laugh and move on from any minor slips, though the time Samuel L. Jackson scolded Rubin for confusing him with Laurence Fishbourne surely wasn’t fun.

All of that — the sense of fun, the humility, the willingness to say and do anything, the good-natured affection he had for all his guests, and the genuine kindness and warmth he had for all in his orbit — contributed to the outpouring of emotion that greeted his death on Friday.

“I don’t think there was ever a person who loved his job more than Sam Rubin did,” wrote actress Marilu Henner on X. “He was always a BLAST! My heart goes out to his beautiful family at home & his incredible family at KTLA. You could feel the love when you walked on set. And Sam was the heart and hearth.”

Actor Kiefer Sutherland mentioned running into Rubin on a red carpet earlier this year — Rubin was a fixture of Los Angeles awards shows coverage.

“I last talked to Sam Rubin at the Critics Choice Awards this year,” Sutherland posted on X. “His smile and his genuine excitement for all things Hollywood ever present. In nervous situations he was a buoy of kindness. I will miss him.”

Actor Danny Trejo called into KTLA on Friday from Canada were he was traveling to share his feelings about Rubin.

“He was somebody if you met him, you’d call him a friend,” Trejo said. “I’m in Canada right now and they’re calling me and [I go], ‘Oh man, not my buddy.’ He was just a real sweetheart of a guy.”

Viewers also spoke emotionally about their morning TV friend of so many years.

“It feels like losing a relative — woke up every day to see the KTLA morning news and there he was,” wrote Israel Ang on Facebook. “Even yesterday he was there with I think he said no makeup. And today there was no Sam and I didn’t think anything of it ’til right now. I’m sad, not going to lie. Felt a tear down my face. He will be missed.”

“I’m sitting here crying like I knew him personally but that’s how he made you feel,” commented Tracie Berquist Alo on Facebook.

The Peabody Awards — which honor “the most compelling and empowering stories released in broadcasting and streaming media during 2023” — will be presented this year in Los Angeles for the first time. The ceremony will be held June 9 at the Beverly Wilshire hotel, hosted by Kumail Nanjiani.

“Whether courageously documenting wars across the globe or cleverly bringing much needed smiles to our faces, the winners of the 84th Peabody Awards each crafted compelling and imaginative stories,” Jeffrey Jones, executive director of Peabody, said in a statement. “Spanning a wide range of mediums and genres, they delivered enthralling projects that are worthy of our highest recognition.”

HBO/Max earned a leading seven awards, while PBS earned five, Amazon MGM Studios three and The Washington Post and FX each earned two.

Among the winners for HBO/Max was “Last Week Tonight With John Oliver,” marking the program’s third Peabody Award. The win for “Reservoir Dogs” was the series’ second.

“Star Trek” will receive the Institutional Award, with the Peabody organization recognizing the longevity and impact of a franchise that began in the 1960s with just a three-season run for the original series, but sparking films, spinoffs and reboots that have endured for decades.

“From a groundbreaking television series to an expansive collection of films, novels, comic books and so much more, ‘Star Trek’ has been delivering joy, wonder, and thought-provoking stories since the 1960s,” Jones said. “With powerful anti-war and anti-discrimination messages, it has blazed trails for all science fiction franchises while winning over passionate fans across the globe. We’re proud to honor ‘Star Trek’ with Peabody’s Institutional Award.”

Previous winners of the award include “The Simpsons,” “60 Minutes,” “Sesame Street,” “TODAY” and “The Daily Show With Jon Stewart.”

Peabody officials also announced that WITNESS, the international rights group co-founded by musician Peter Gabriel that helps people worldwide use video and digital technologies to protect and defend human rights, will receive the organization’s Global Impact Award.

“Founded in 1993, WITNESS’ efforts have evolved with changing technologies, and have had a lasting impact on movements to secure freedom and democracy worldwide,” Jones said. “WITNESS’ work has been instrumental in protecting human rights around the world, and we are proud to honor them for their work harnessing video to do so.”

Also set to be feted during the June 9 ceremony will be previously announced honorees Mel Brooks, who will receive the Peabody Career Achievement Award, and “Abbott Elementary” creator/actress Quinta Brunson, who will receive the Peabody Trailblazer Award.

The Peabody Awards were founded in 1940 at the Grady College of Journalism and Mass Communication at the University of Georgia, where they are still housed.

Here is a complete list of Peabody winners:

ARTS

— “Can You Bring It: Bill T. Jones and D-Man in the Waters” (World Channel and APT)

— “Judy Blume Forever” (Prime Video)

CHILDREN’S/YOUTH

— “Bluey” (Disney+)

DOCUMENTARY

— “20 Days in Mariupol” (PBS)

— “All That Breathes” (HBO/Max)

— “All the Beauty and the Bloodshed” (HBO/Max)

— “Bobi Wine: The People’s President” (National Geographic)

— “POV: While We Watched” (PBS)

— “The Stroll” (HBO/Max)

ENTERTAINMENT

— “The Bear” (FX)

— “Dead Ringers” (Prime Video)

— “Fellow Travelers” (Showtime)

— “Jury Duty” (Amazon Freevee)

— “The Last of Us” (HBO/Max)

— “Last Week Tonight with John Oliver: Israel-Hamas War” (HBO/Max)

— “Reality” (HBO/Max)

— “Reservation Dogs” (FX)

— “Somebody Somewhere” (HBO/Max)

INTERACTIVE & IMMERSIVE

— “The Hidden History of Racism in New York City” (Instagram)

— “Pentiment” (Xbox, Playstation 4/5, Nintendo Switch)

— “We Are OFK” (Playstation, Nintendo Switch, Steam)

— “You Destroy. We Create. The war on Ukraine’s culture” (Meta Quest)

NEWS

— “Against All Enemies” (NBC 5 / KXAS-TV Dallas-Fort Worth)

— “Clarence and Ginni Thomas: Politics, Power and the Supreme Court” (PBS)

— “Hate Comes to Main Street” (WTVF-TV, ɫ����̳Channel 5)

— “It’s Bisan from Gaza and I’m Still Alive” (Al Jazeera Media Network)

— “War in the Holy Land” (PBS ɫ����̳Hour)

PUBLIC SERVICE

— “America and the Taliban” (PBS)

— “The Post Roe Baby Boom: Inside Mississippi’s Maternal Health Crisis” (USA TODAY streaming channels)

RADIO/PODCAST

— “The Big Dig” (GBH-ɫ����̳)

— “The Empty Grave of Comrade Bishop” (The Washington Post)

— “Post Reports: Surviving to graduation” (The Washington Post)

— “The Retrievals” (Serial Productions and The New York Times)

— “You Didn’t See Nothin” (Invisible Institute and USG Audio)

to stealing nearly $17 million from Ohtani, according to federal prosecutors. The money was used to pay Mizuhara’s gambling debts to Orange County bookie .

on Wednesday, Boyajian, who first appeared on in 2023, was revealed to have been the contact to whom Mizuhara wired funds to cover his losses on bets placed with Bowyer.

Boyajian and Bowyer, friends for years, shared a bank account for joint real estate projects, ESPN.com reported. Steven Katzman, Boyajian’s criminal attorney, told ESPN that the reality TV star is cooperating with federal authorities in the investigation.

“Because there is an active investigation and Ryan is working with the authorities, he can’t confirm or deny what is going on,” Katzman told a reporter for the sports news website. “He is not a bookmaker or a sub-bookie.”

Boyajian joined “The Real Housewives of Orange County” in its 17th season when his girlfriend on the long-running Bravo reality TV series.

While boyfriends and husbands typically play supporting roles on the “Real Housewives” Boyajian received more airtime than many thanks to the feelings other housewives had for him.

, who returned to the series in 2023 after several years away, repeatedly told Pedranti that Boyajian’s track record with other women he dated made him an unworthy romantic partner. as Judge and other housewives encouraged her to leave him.

Filming for the 18th season of “The Real Housewives of Orange County” recently concluded, according to a post by Pedranti on her Instagram account.

And Boyajian seems certain to appear on the show, for which a season premiere date has not yet been announced. In April, they told People magazine they had just gotten engaged while on vacation in the Bahamas.

If you aren’t familiar, was the talk of the town last year after news broke that cast member Tom Sandoval had been cheating on his partner of 9 years, Ariana Maddox, with fellow cast member Rachel Levis. With both Bravo fans and the internet not able to get enough of the series, it seemed like the perfect opportunity to expand the with a new series.

Related: ‘

“The Valley” brings back two original Pump Rules cast members, Kristen Doute and Jax Taylor, as well as Taylor’s wife Brittany Cartwright who joined the show in later seasons. All three worked as servers and bartenders at former “Real Housewives of Beverly Hills” star Lisa Vanderpump’s West Hollywood restaurant, SUR.

A lot has changed in the years since we last saw this trio on our screens. For one, they’ve stepped away from the glitz and glam of West Hollywood to reside in the San Fernando Valley. Another major change is the new additions to their families. Taylor and Cartwright have a son together, where as Doute shares she’s trying to get pregnant with her boyfriend Luke Broderick, who is also a member of the Valley cast.

Entering this next chapter of life means expanding their friend circle beyond their former SUR coworkers. The Valley cast includes three couples; Danny and Nia Booko, Jesse and Michelle Lally; Jason and Janet Caperna; as well as friends Zack Wickham and former the Bachelor contestant Jasmine Goode.

Similar to Vanderpump Rules and other Bravo shows, The Valley makes a point to make the surrounding cities its backdrop and utilize various and bars where the cast meets up to discuss the latest gossip.

Here are some of the restaurants seen throughout the first season of the series.

Cast-owned Restaurants:

Jax’s Studio City

12514 Ventura Blvd, Studio City, CA 91604

The bar is managed by Jax Taylor and Brittany Cartwright. The process of opening the bar is documented during the season. According to Taylor he has not invested any money into the restaurant and has “three partners who are footing the bill.”

The bar is connected to Rocco’s Tavern and offers a similar menu, but one noticeable addition to Jax’s that many Pump Rules fans will recognize is Mamaw’s Beer Cheese. The indoor area of the bar feels like a glammed up dive bar where they host weekly karaoke nights. Outside feels like a sports bar surround by TVs that most would use to watch the game, but also make for a fun space for fans to watch their favorite Bravo shows.

Restaurants the cast visits in order of appearance:

The Great Greek

13362 Ventura Blvd, Sherman Oaks, CA 91423

Cast members who eat here: Kristen, Zack and Jasmine in Episode 1.

In addition to serving classic Greek dishes such as tzatziki, spanakopita and baklava, the restaurant also plays live Greek music.

Smoke House Restaurant

4420 Lakeside Dr, Burbank, CA 91505

Cast members who eat here: Jax and Kristen in Episode 2.

Jax takes Kristen here because its a place he’s always wanted to eat at. Viewers might also recognize it from the film “La La Land.” This classic Los Angeles restaurant has been around since 1946 with reviewers raving about the garlic bread and steaks among the many menu items. One notable moment of Jax taking Kristen to a Smoke House restaurant is that in the entire time he’s known her, she’s been a vegetarian. But luckily for those in a similar boat, they menu offers plenty of vegetarian options.

Two Bit Circus

634 Mateo St, Los Angeles, CA

Cast members who eat here: Jax, Jesse, Danny and Luke for guys night in Episode 2.

This bar doubles as a high tech carnival with its variety of arcade games and VR technology.

*Note: Two Bit Circus is temporarily closed.

Rocco’s Tavern

12514 Ventura Blvd, Studio City, CA 91604

Cast members who eat here: Jax meets with his business partners to hire staff for Jax’s Studio City in Episode 3.

Rocco’s Tavern has a few locations throughout Los Angeles, but their Studio City spot is notable to the Valley because its connected to Jax’s Studio City. The sports bar’s menu includes classic likes pizza and wings as well as mac and cheese that guests rave about.

Hochateria

231 N Maclay Ave, San Fernando, CA 91340

Cast members who eat here: Brittany and Kristen in Episode 3.

Horchata, coffee and churros, the perfect combo for anyone with a sweet tooth. The owners claim to fuse traditional Mexican flavors with American favorites with items such as a Horchata iced coffee, Churro Sundae and concha ice cream sandwich.

Ventura County Fair

10 W Harbor Blvd, Ventura, CA 93001

Cast members who eat here: Jax, Jesse and Danny along with their kids in Episode 4.

This annual Southern California county fair happens each summer. This year it will take place from July 31 to August 11.

Soulmate

631 N Robertson Blvd, West Hollywood, CA 90069

Cast members who eat here: Kristen and Luke in Episode 4.

This restaurant is located near none other than Kristen’s old palace of work, SUR. Just like Luke, restaurant goers can start their evening off with oysters as well as savory beignets. The menu includes plenty of seafood options as well as flatbreads and pasta.

Stout Burgers and Beers

1544 N Cahuenga Blvd Los Angeles, CA 90028

Cast members who eat here: Jax and Jasmine in Episode 6.

While the Studio City location that Jax and Jasmine met at is now permanently closed, the local chain has two locations still open throughout Los Angeles.

Sky Bar at the Mondrian

8440 Sunset Blvd, West Hollywood, CA 90069

Cast members who eat here: The entire cast comes here as well as Tom Schwartz from Vanderpump Rules to celebrate Jax’s hair care product launch in Episode 6.

If you’ve watched Vanderpump Rules, chances are this location looks familiar. Located at the Mondrian Hotel in West Hollywood, the Sky Bar menu includes cocktails and poolside bites.

Corbin Bowl

19616 Ventura Blvd, Tarzana, CA 91356

Cast members who eat here: Jax, Luke and Jason in Episode 7.

This Valley bowling alley serves classic bites like fries, nachos, chicken wings, mozzarella sticks and more. As for the bowling, pricing for lane reservations range based on the day/time but typically start at $40 for the first hour.

Taisho

14016 Ventura Blvd, Sherman Oaks, CA 91423

Cast members who eat here: Nia, Danny, Michelle and Jesse in Episode 7

This Japanese restaurant’s menu is “rooted in tradition” with a modern vibe. They primarily serve sushi but also have a happy hour daily from 5-6 p.m.

The Mondrian

8440 Sunset Blvd, West Hollywood, CA 90069

Cast members who eat here: Jax and Brittany

Jax and Brittany stay at the Mondrian penthouse for date night and have a chef from Sushi Lux come to the hotel to make them dinner. The upscale private dining company is available to reserve for events for a minimum of 25 people.

Vintage Wine + Eats

12023 Ventura Blvd, Studio City, CA 91604

Cast members who eat here: Kristen and Jasmine in Episode 8.

This Studio City wine bar is conveniently located just off of Ventura Blvd and Laurel Canyon, making it an easy meet up spot for those coming in from West Hollywood to the Valley. In addition to their drink menu, they also offer classics like cheese and charcuterie boards plus spinach and artichoke dip. Fun fact, it’s the only in the San Fernando Valley

We’ll be updating this list as the season progresses.

In the show, she is coached by high-profile LA chefs including .

The series will premiere in two half-hour episodes airing at 7 and 7:30 p.m. on Thursday, May 2.

In the first episode, Gomez will visit Puck’s in Beverly Hills, where she will go through two initiation tests before getting the chance to create a spicy seafood dish, according to the network’s episode guide.

In the second episode, Gomez teams with , currently of in Culver City, to fold dumplings, smoke chicken in tea leaves and create a fusion version of a dish from her childhood.

Later episodes will feature the Lemon Grove in Hollywood, Moo’s Craft Barbecue and Girl & the Goat in Los Angeles.

The first episode will air again at 9:30 a.m. Saturday, May 4, preceded by a 2020 episode from an earlier series, “,” which is airing at 9 a.m. Saturdays.

Information:

has been responsible for more movies than you think.

Yes, he co-wrote and lent his voice to 2007’s “Bee Movie.” But before that, “Seinfeld” — where going to the movies, with or without the aid of Moviefone, was nearly as regular a destination as the coffee shop — gave birth to dozens of (fake) films. “Rochelle, Rochelle.” “Prognosis Negative.” “Sack Lunch.”

But nearly three decades after Seinfeld was, in one episode, cajoled into bootlegging “Death Blow,” he has finally made his first film. Seinfeld directed, co-wrote and stars in a star-studded comedy about the invention of the Pop-Tart premiering May 3 on Netflix.

The film, which co-stars Melissa McCarthy, Jim Gaffigan, Hugh Grant and others, is an outlandish, “Mad Men”-inspired ’60s-set satire in which Kellogg’s and Post Cereal are engaged in a cutthroat race to “upend America’s breakfast table.”

“When you see any scene of it you go, ‘What is that?’ And I was very happy about that,” Seinfeld said in a recent interview. “I like that you look at it and go, ‘I don’t know what this is.’”

For Seinfeld, who has resolutely stuck to stand-up since “Seinfeld” ended in 1998 – – it’s a rare post-sitcom project, joining a short and sporadic list including the short-lived reality series “The Marriage Ref” and the popular streaming show

“U�Դڰ��Dz��ٱ��,” though, returns Seinfeld to one of his abiding passions. Remember all those cereal boxes in his apartment on “Seinfeld”? The Pop-Tart is a particular fascination, though. In his 2020 comedy special “23 Hours to Kill,” it formed an extended bit beginning with the childhood memory: “When they invented the Pop-Tart, the back of my head blew right off.”

For Seinfeld, the Pop-Tart has an almost mythical quality. A movie about Oreos or Milk Duds or even Junior Mints wouldn’t work, he says. But the Pop-Tart is different.

“A lot of it is the word. It’s a funny word,” says Seinfeld. “I heard Mattel is trying to do a Hot Wheels movie. That could work. Certain things really got us when we were kids, you know?”

In a wide-ranging interview, Seinfeld discussed subjects large and small.

Q: “Unfrosted” began with an old stand-up bit of yours. Is it surprising to you that you’ve made a movie about it?

SEINFELD: It was all (“Seinfeld” writer) Spike Feresten’s idea. I did not want to do it. I did not think it would work. What’s a movie about inventing the Pop-Tart? That’s not funny. And (“Seinfeld” writer) Andy Robin came up with the idea that it’s “The Right Stuff.” And I went, “Oh, that’s funny.”

Q: You suggested you only say you love Pop-Tarts to make the joke work.

SEINFELD: I probably just said that to make that point. But I do love Pop-Tarts. I had one yesterday. We were doing a social media piece with Jimmy Fallon and Meghan Trainor. I took I bite and I went, “This is fantastic.” What I like about it is the man-made quality of it. I love great objects that fit in your hand in a nice way. A pack of cigarettes is one of the greatest things you can put in your hand. It just feels great. Dice feel great. I like a nice spoon. I like things. (Laughs)

Q: You’ve often spoken about your dedication to sharpening and sculpting a joke. Are you still driven by that?

SEINFELD: I started a bit the other night about your kitchen sponge on the sink looking up at you going: “I don’t know how much more you think I have. I was done two months ago.” Now it’s just growing and growing into his monologue of your kitchen sponge telling you, “Let me go! Let me die a rectangle, not in pieces.” When I lock on to something like that, I just want to see how far I can go with it, how long will they let me talk about this.

Q: You’re about to turn 70. Is that meaningful to you?

SEINFELD: No.

Q: Some entertainers turn inward when they reach their 70s, like Steven Spielberg did with But maybe this is a very personal movie for you.

SEINFELD: Very much. This is my “Fabelmans.” Because I’m not interested in my life. I’m interested in eating.

Q: You’ve said you want to do stand-up into your 80s and beyond.

SEINFELD: To the end. To the very end.

Q: You still feel that way?

SEINFELD: Yeah. The only hard part of my life is the other things. People do ask me about slowing down and I go, “The work part of my life is not stand-up. It’s all the other things.” Stand-up is an incredible, pure experience. Surfing is the great regret of my life that I never really got good at that. I did it for two weeks one time many years ago. But if you were a surfer, you would never stop doing it. That’s what stand-up is for me. Feeling that energy, that natural life-force energy under you and around you, I never get tired of that.

Q: Are you thinking about another stand-up special?

SEINFELD: No, I’m not. … I envy, sometimes, these little Italian artisans who don’t really care if anybody knows who they are or what they do. And stand-up can be like that. Any writing work is very lonely work. Stand-up, in a way, is kind of a private, lonely world. I’m going to Dayton, Ohio, on Friday. No one’s going to know what happened there. I’m very attracted to that. I’m more attracted to that than, “Hey everyone, I made a movie.”

“Yesterday, I was driving on the Hollywood Freeway with my family, and my son said, ‘Look, there’s a billboard with “The Sympathizer” on it!’” said a little more than a week before the limited series premieres on HBO on Sunday, April 14.

“We immediately pulled over, thankfully, to a safe place, and everybody spilled out of the car to take pictures with a billboard,” he says. “And you don’t do that with a book. Books don’t get billboards, usually.

“That’s just an example of how vast the scale is, that you can drive on a freeway through L.A. now and literally see gigantic billboards with the whole cast’s faces. And that’s amazing. Absolutely amazing.”

“The Sympathizer” is the story of The Captain, a South Vietnamese spy for the North Vietnamese during the Vietnam War, a man of two minds, as he says of himself in the novel, whose communist leanings push against his fondness for the United States where he’d studied before the war. The seven-episode limited series follows The Captain from the fall of Saigon to his journey to the United States and eventual return to Vietnam.

Its cast consists almost entirely of actors of Vietnamese origins. Most, such as Australian actor Hoa Xuande, who plays The Captain, are unfamiliar to American audiences, though some will be familiar such as the acclaimed actress Kieu Chinh, who plays The Major’s Mother, and “Paris By Night” emcee Ky Duyen, who plays The General’s Wife.

“The story is about refugees, a traitor, heroes, a spy, and love and relationships,” says Chinh, 86, on a call from her Huntington Beach home. “This is the first time a Vietnamese novel is brought to the screen, and most of the characters are played by Vietnamese for the first time.

“So, you know, we are all very excited about that,” she says.

Sandra Oh and Robert Downey Jr. also star in the series, with Oh playing university secretary Ms. Mori, and Downey, playing four different characters – a CIA agent, a professor, a filmmaker, and a congressman – who are antagonists of The Captain in the series.

Part black comedy, part spy thriller, “The Sympathizer” was co-created by Canadian writer-producer Don McKellar and South Korean writer-director Park Chan-wook.

Page to screen

Viet Thanh Nguyen’s debut novel was a literary sensation on publication, earning acclaim for its subversion of genre tropes such as spy novels and war stories while telling a serious, entertaining and often funny story from the point of view of the Vietnamese side of the war.

After it won , Nguyen, the Aerol Arnold Chair of English and professor of English and American studies and ethnicity at the University of Southern California, set about seeking a home for the story in Hollywood. In 2021, A24 optioned it as a series for HBO, with other producers, including Team Downey, Robert and Susan Downey’s production company, also coming on board.

Nguyen served as an executive producer on the project. McKellar joined as showrunner after Nguyen mentioned he thought Park Chan-wook would be a dream director, and a fellow producer who knew McKellar had written a script with the South Korean filmmaker, reached out to McKellar.

He also mentioned Sandra Oh as a possible choice for Ms. Mori, and McKellar, a close friend of Oh’s, reached out and got her on board.

To the writer, spending time with producers, cast and crew on set and location left Nguyen in awe of the work that went into making his book into a thrilling spectacle of a series.

“I mean, it literally involves hundreds of people working well over a year at a huge cost to make this, whereas I wrote the whole thing sitting in a little room by myself,” Nguyen says.

“Reading and watching are very different experiences and very hard to compare,” he says. “But they’re both immersive in their own ways. The process of interacting with someone’s words, but then conjuring, in my own mind, whatever’s happening is quite different than sitting more passively in front of a screen.

“But when the screen experience works, it can be really incredible, and I think it does work in this series.”

And the literary world seems awed by the adaptation, too, Nguyen says.

“The degree of excitement that this TV series has generated amongst book people is is interesting,” he says. “It’s a little bit humbling, like, ‘OK, well, I did publish a book, and people were excited about that.’ But not at this level.”

Casting in Southern California

While much of the cast was found through a global search of the Vietnamese diaspora, the two primary actresses in this story were found much closer to Hollywood, both residents of Huntington Beach.

Chinh laughs when she’s asked how she came to be cast in the series. Shortly after “The Sympathizer” was published, she went to Irvine to a book event for Nguyen and the author recognized her in the audience.

“At that time, he doesn’t know that the book will turn to onscreen,” Chinh says. “So he just says, ‘Oh my God, we have the legendary actress Kieu Chinh in the audience.’ And he said, ‘Hopefully one day if the book turns into a series, you must be one of the characters.’”

Flash-forward five or six years, Chinh and Nguyen are friends, and one day her manager calls her to a meeting with McKellar and Chan-wook.

“We just talked a little bit and they gave me the part,” she says.

Duyen, after 30 years as host of the musical variety show “Paris By Night,” wanted to try something new. Through her friendship with Chinh, she was referred to an agent. A week or so later, the agent asked her to do a self-recorded audition for “The Sympathizer.” A Zoom audition with Chan-wook soon followed.

“I thought, ‘OK, it’s probably several months that we hear whether or not (she got the part),” Duyen says. “An hour later, my agent told me you got the role, and I started to realize how big this thing is.”

Both Chinh and Duyen left Vietnam at the fall of Saigon on April 30, 1975, a searing time for the Vietnamese people who fled their homeland, an experience that is recreated in the series. Duyen was only 9, and her memories of that time are vague. For Chinh, the series’ imagined version of those days hit harder.

The loneliness that The Major’s Mother feels in “The Sympathizer” reminded Chinh of her own feelings as a refugee living alone in a North Hollywood apartment when she arrived in the United States after the fall of Saigon, thanks to actress Tippi Hedren’s sponsorship.

“Some scenes I don’t think that I’m doing the job of an actor, but I just relive my real life,” Chinh says. “The huge scene that director Park created for the last days of Saigon, the evacuation. The mortar attacks, the panic of the people pushing each other to get onto that flight. That is exactly what happened to my own life.

“That night, you can imagine, I was overwhelmed with sadness, scared, and tears keep coming out to my eyes,” she says. “My heart was beating fast and I had a heavy feeling. I just relived my past.”

A different view

As a prestige TV series, “The Sympathizer” is made to entertain, and it does that with the multilayered storylines that stretch from The Captain’s present into his future and his past.

But the series also presents a fresh and unfamiliar perspective on the war, that of the Vietnamese people rather than that of American soldiers, as has been seen in films like “Platoon,” “Apocalypse Now,” “Full Metal Jacket” and others. By showing the perspective of the Vietnamese people, whose lives and land were torn apart by the war, it can’t help but educate viewers, too, those involved in the project say.

“I think that this war was unique,” McKellar says. “The first case, but I think still the only real case, where our conception of the war is through the movies. So this show, the first thing it’s doing is saying, ‘OK, Americans, OK, world, let’s look at this from the other side,’ and remind yourself that it was on Vietnamese soil. That the people who suffered most and the people who suffered longest were the Vietnamese people.

“Which isn’t to say that Americans didn’t suffer,” he says. “They did. But it’s saying, ‘Sympathize with this other side. Put yourself in the other side.’ And then recognize that side also has divisions and also has complexity, and that is much more complicated than you think.”

Susan Downey said she and Robert Downey Jr. were drawn to the project by that same fresh perspective.

“There are so many moments where you’re wrestling with alliances based on preconceived notions,” she said. “You have the hero, the Captain. But wait, he’s a communist sympathizer, but he’s got this love for America. So it’s just all of these swirling conflicts. I think that if we’ve succeeded at all we make people feel all the emotions – there is humor, there is real drama, maybe some tears. More than anything, it gets people talking.”

And when Park Chan-wook suggested Robert Downey Jr. play four different characters, the actor was all in, Susan Downey says.

“He really relished the opportunity,” Susan Downey says. “He had just come off of ‘Oppenheimer’ and playing Lewis Strauss, who was a very grounded, very real person. And so the opportunity to play these sort of toxic male symbols of the American patriarchy was a lot of fun for him. He didn’t want to shy away from it.”

Duyen noted that the series mocks the hawkish Americans who pushed for the war, but also satirizes the Vietnamese political and military leadership whose actions led to the downfall of South Vietnam.

“It’s a satirical look at every different side,” she says. “And I think every side will come out feeling a little bit good about themselves, and then a little bit bad about themselves.

“I think also what it does is bring out a better understanding, so that every side can see its effect on the other side,” she says. “Try to have an open mind. Try to laugh about it. Then I think maybe you can understand each other more.”

Just as American movies such as “Platoon” shaped impressions of the Vietnam War in the ’70s and ’80s, so will “The Sympathizer” shape views of it today, Nguyen says.

“For better and for worse, this TV series will not just be an entertainment, but also function as a history lesson for many, many people,” he says. “This will be their first exposure to the war in general, and for those who know anything about the American perspective, it’ll be their first exposure to any Vietnamese perspective.

“I think it would obviously be better if people read history books,” Nguyen says, laughing. “Because this TV series cannot offer that same depth as a history book.

“On the other hand, what the TV series can offer, as with literature, is a deep immersive identification through narrative and characters,” he says. “And that is actually, really, really powerful. American Vietnam War movies made an enormous emotional impact on a lot of people. So I think this TV series will have that same kind of impact.”

What he found changed his life.

“It was kind of like a musical bomb,” says from his home in New Mexico, describing the night he stumbled onto Sill performing to a dozen or so people at Artie Fatbuckle’s Cellar in Hollywood in 1971. “I expected her to be good because David Geffen said she was great, and he has great taste.

“I did not expect her to be an absolute original,” he continues. “Because she was really unlike anything any of us had ever seen at that moment when we were all just starting out and just being signed to (Geffen’s) Asylum Records.”

For , while the setting was different, the epiphany was much the same.

“I was 17 and I was scooping ice cream in Baskin-Robbins in Carbondale, Illinois,” Colvin says from her home in Austin, Texas. “We were listening to our college radio station, WTAO, and this woman comes on and it was … I was kind of like pushed back and nailed to the wall. I was like, ‘Who’s that?!’

“It was ‘There’s a Rugged Road,’ which is the first song on ‘Heart Food,’” she says of the 1973 album that had just come out when Colvin heard Sill for the first time. “The guitar playing was superb. Nobody before or since, to me, has ever sounded like Judee Sill as a singer and as a writer. So it was totally unique, but in a genre that was close to my heart.

“And that was it. I just went to the record store and got ‘Heart Food.’ The record probably cost $3.99. And fell in love with it.”

Souther and Colvin are not alone in their love of the singer-songwriter whose hard life has often overshaded the genius of the two albums she made for Asylum in the early ’70s, where she was the first artist signed after Geffen launched the label.

They, along with artists including , , , Big Thief, Weyes Blood and Fleet Foxes, all appear in “Lost Angel: The Genius of Judee Sill,” a new documentary that opens Friday, April 12 in theaters and on streaming services.

Through the testimony of musicians, friends, writers and more, the film seeks to restore Sill to her rightful place in music history, say co-directors Andy Brown and Brian Lindstrom, who worked more than a decade to bring the project to the screen. (Full disclosure: Lindstrom and I were college classmates.)

“We were very lucky to have such enthusiasm,” Lindstrom says of the response from those they approached to participate in “Lost Angel.” “The feeling was like, ‘Wow, this is about time. People need to know about her. How can we help?’”

A life revealed

Sill never shied from sharing the basic facts about her life before she made her first record.

As a teenager, she was arrested for a string of robberies in the San Fernando Valley and sent to reform school where she developed her musical skills by playing gospel songs on the organ for chapel services. After her release, she fell into drug addiction, sometimes working as a prostitute for money to buy heroin.

But that’s not the story Lindstrom and Brown wanted to tell, and to those who knew her, it never defined or confined her as an artist.

“What was striking about the interviews was, each of the people we talked to just said how much fun Judee was,” Lindstrom says. “How lovely she was. What a light she was. It completely blew away that kind of Wikipedia doom and gloom, the female Nick Drake depiction of her.

“One thing that’s really notable is the circle of love that she built in her life as an adult,” he says.

“She was, as far as her friend group, their dearest friend,” Brown adds. “The funniest person they ever knew. The one who would organize all the holiday gatherings and gave presents on their birthdays.”

Sill released her self-titled debut in 1971 and the sophomore release, “Heart Food,” in 1973. The first sold about 40,000 but failed to break through commercially. The second sold less and Sill was dropped by the label, a huge blow to a singer-songwriter who wanted not only to be famous, but also to heal the world with her music, as she says through interviews and journal entries in “Lost Angel.”

The filmmakers were limited to the decades-old footage of Sill in performance, but even in a video recorded by a friend at a performance at the University of Southern California, her talent shines through in the grainy images.

Other sources provided more context. An audiotape of an extensive interview she gave a journalist for the L.A. Free Press covered much of the same ground as the cover story that Rolling Stone published. Her niece had kept many of Sill’s journals, which through the narration of a voice actor and animation of Sill’s drawings, provided more of her voice for the film. The multitrack tapes of “Heart Food” allowed Sill’s music to serve as the film score.

“Our goal was to have Judee tell the story, but we didn’t have the archive to do that,” Brown says. “That’s partly why it took 10 years to make the film, because we were accumulating these things as we went along.”

J.D. and Judee

After that first night in the folk club on Melrose, Souther was completely taken by Sill.

He was already deeply enmeshed in the growing country rock scene in Los Angeles, writing and performing with friends such as Glenn Frey and Don Henley, soon to become the Eagles, Linda Ronstadt, Jackson Browne, and Warren Zevon.

Yet in Sill, Souther says he saw things that none of them were doing yet.

“None of us – even Jackson, who was at that point far better than Glenn or Don or Zevon or I – had the kind of detail and the sort of admixture of the numinous and the absolute earthiness,” he says. “It was just great. She was great.

“She was by far the best writer of any of us,” Souther says. “If you asked her what musicians she liked, she would say Ray Charles and Bach. And she kind of liked the Sons of the Pioneers, which you can hear in some of her stuff that’s kind of cowboy country. Her craftsmanship was just elegant, well-formed, and deep. It had a point of view without judgment, but it also had great detail, great specificity.”

Souther and Sill became an on-and-off couple. It ended for good when Souther left to tour with Ronstadt and came home in a relationship with her.

The breakup inspired one of Sill’s greatest songs, “Jesus Was a Cross-Maker,” which mixes holy metaphors with earthly sorrows as it takes Souther down a peg or two for how he broke her heart. Famously, she showed up at his house before breakfast one day to let him hear it straight from her.

“Oh yeah, she threw it right in my face,” Souther says, laughing. ” “Here’s how I feel about you, you unrepentant bastard.’

“I think I said, ‘Wow. Well, let’s go to Lucy’s and get some huevos rancheros,’” he says. “So we went to El Adobe and had some some huevos rancheros. She had spoken her piece, you know. And then we got close again after that. Even when Linda and I were together, and we were in the studio singing, Judee was there a couple of times.”

One of the greats

After Sill lost her record deal, she struggled. Her new boyfriend at the time wasn’t good for her, Souther and other friends say in the film.  A car crash in Souther’s borrowed VW Beetle left her with long-term back pain, which soon led her back into a drug habit.

When she died in 1979 of a drug overdose, she left behind two albums, both of them filled with beautiful music, but outside of her friends few noticed her passing. Her dream to succeed ended unrealized by commercial measures, but that’s not the only way to judge an artist’s life.

“My first instinct is to just prompt us all to kind of re-evaluate what it means to make it,” Lindstrom says. “Can anyone listen to ‘The Kiss’ and think that Judee, in any way, did not make it?

“I think she kind of helps us understand her story with her last words in ‘Lopin’ Along Through the Cosmos,’” he says. “‘However we are is OK.’ I think that can sometimes be used as a kind of meaningless phrase, but in Judee’s case, it’s quite the opposite. I think of it as a kind of hard-won depth and acceptance and grit and perseverance to it.”

Unlike Souther, Colvin never knew Sill through anything but her records. She recorded that first song she heard on the radio at the Baskin-Robbins on her 1994 album “Cover Girl,” and has performed other Sill songs including “The Phoenix,” which appears in “Lost Angel,” over the years. But the most common response to her mention of Sill’s name has been the blank expressions of those for whom it isn’t known.

“That’s why this movie is so important,” Colvin says. “I liken her to Van Gogh or something. It’s like you’re gonna know about her long after she’s gone, and hopefully this is the start of that, because she really should be.

“I just think it’s one of those cases where I have to believe that she just wasn’t meant to blow up while she was alive,” she says. “And who knows how long it’s going to take. But she belongs among the greats. Because she is one of the greats.”