Category: 5. Entertainment

 
Rohner: We’ve worked with several hundred thousand people over the past 60-some-odd years on every continent except Antarctica, and while doing that, we’ve learned many lessons about what we’re like and not like as human beings. The beauty of the work we do is that we can now empirically document three things, among others. First, humans everywhere – in any place in the world that we’ve found so far – understand themselves to be cared about or not cared about in the same four ways. So far, no exceptions. Second, if you feel the person or people who are most important to you – these are usually parents when we’re kids and intimate partners when we’re adults, but there could be others like teachers or coaches – if you feel that person doesn’t really want you, appreciate you, care about you, love you, if you feel rejected by that person, most people will respond in exactly the same way. A cluster of 10 things start to happen. We get anxious, insecure. We have anger problems. Our self-esteem is impaired. Children can have issues of cognitive distortions, in which they start to think about themselves in distorted ways. The third important lesson comes from Sumbleen’s work.

Ali: I came to UConn as a psychology student and enjoyed working with Ron so much that I decided to pursue a graduate degree in human development and family sciences. In conversations about IPARTheory, we developed an argument that parental acceptance and rejection might be rooted in our shared biocultural evolution, and I wanted to investigate how that shows up in the brain. This became the focus of my dissertation – the first in affective neuroscience at UConn – under the guidance of my Ph.D. advisors, Preston Britner and Ron Rohner. The research examined how early parental experiences shape emotional regulation. We scanned the brains of students who reported either parental acceptance or rejection while they played a simulated ball-tossing game designed to mimic social exclusion. Those with rejection histories showed more activity in areas linked to emotion and memory, suggesting they were re-experiencing past rejection. Participants who felt loved showed more activation in regions tied to rational thinking, possibly reframing the experience. Now, we’re analyzing resting-state brain data to see whether differences in brain connectivity appear even without an external task.

This is Awakeners, a Lit Hub Radio podcast about mentorship in the literary arts. Robert Frost allegedly said he was not a teacher but an “awakener.” On every episode of this podcast, host Lena Crown speaks with writers, artists, critics, and scholars across generations who have awakened something for one another. We chat about how their relationship has evolved, examine the connections and divergences in their writing and thinking, and dig into the archives for traces of their mutual influence.

Article continues after advertisement

*

On this episode of Awakeners, Lena speaks with the novelists Tash Aw and Jemimah Wei, who connected when Jemimah signed up for Tash’s fiction master class on “time and place” in Singapore back in 2015.

Growing up in Malaysia and Singapore, Tash and Jemimah remember having almost no models for what it might look like to be a writer. The publishing industry – and the literary world – seemed to be headquartered elsewhere. This is why it was so important to Tash to return to his region to teach: to show young writers there what was possible.

After Jemimah had been writing for a while, Tash suggested Jemimah look into graduate school in creative writing, and later he connected her with his literary agent, who now represents them both. Ten years after the master class, their new books were released within weeks of one another, and Jemimah even traveled back to Singapore to help Tash launch his novel in the place where they met.

In the first half of the episode, we discuss why Jemimah stood out to Tash in class, how to make a writing life (especially coming from outside the U.S.), being “genre-agnostic,” revising book-length projects, and what to look for in a literary agent.

In the second half of the episode, Jemimah and Tash share an excerpt from The Original Daughter and The South, and we zoom in on the very themes from Tash’s master class ten years ago: time and place. We focus especially on the factors that influence how we experience time – things like age and maturity level, as well as culture, labor, economics, and the pressure to produce or succeed – and also how we experience time as readers through craft elements like verb tense and perspective, or what Jemimah calls the narrator’s “narrative perch” with respect to past or present events.

 

Subscribe and connect with us on our website: awakenerspodcast.com

______________________________________

Tash Aw is the author of five novels and a memoir of a Chinese-Malaysian family, Strangers on a Pier, finalist for the Los Angeles Book Prize. His work has won the Whitbread and Commonwealth Prizes, an O. Henry Award and twice been longlisted for the MAN Booker Prize. His novels have been translated into 23 languages. As an essayist and critic, he has contributed to the Paris Review, New York Review of Books, New York Times and the Guardian, among many other publications. He is currently a DAAD Artist-in-Berlin.

Jemimah Wei is the author of The Original Daughter. Born and raised in Singapore, she is now based between Singapore and the United States. She was a Wallace Stegner Fellow at Stanford University and Felipe P. De Alba Fellow at Columbia University, where she earned her MFA. A recipient of awards and fellowships from Singapore’s National Arts Council, Hemmingway House, Sewanee Writers’ Conference, Bread Loaf Writers’ Conference, and Writers in Paradise, she was named one of Narrative’s “30 below 30” writers and is a Francine Ringold Award for New Writers honouree. Her fiction has won the William Van Dyke Short Story Prize and appears in Guernica, Narrative, Joyland, amongst others. For close to a decade, Jemimah was a host for various broadcast and digital channels, and has written and produced short films and travel guides for Laneige, Airbnb, and Nikon.

More Jemimah: https://jemmawei.com/

More Tash: https://www.instagram.com/tash.aw/?hl=en

Subscribe and connect with us on our website: awakenerspodcast.com.

 

If you think you know Handel’s Semele and its show-stopping aria “Myself I shall adore”, Oliver Mears has other ideas. Far from showing us an explosion of self-indulgent vanity, Mears zeroes in on the cruelty of Juno’s deceit, setting up her husband’s lover to be burnt to a crisp: we feel sympathy for Semele’s vanity, not contempt. And who knew that Pretty Yende sings Handel as if she has been doing so since the cradle? She ran through Handelian semiquavers as if this was the most natural thing in the world, her accents judged with immaculate taste and a voice that sweetened out as it hit the highest fastest notes that might normally go brittle. Mears’ interpretation of the role is an ingénue servant trapped in the hatreds of the rich and powerful and Yende acts it to perfection, injecting Semele’s mood changes into both voice and body language, creating a completely sympathetic character.

Semele may be packed with glamorous melodies, but Mears’ vision of the piece is daringly bleak. It ends well for no-one: Semele dead, her ex-fiancé Athamas and sister Ino trapped in a loveless marriage, Jupiter and Juno doomed to repeat the cycle of infidelity, jealousy and revenge. The only consolation is that the human chorus can drown its sorrows in the product of her womb, the wine god Bacchus.

Yende may have leapt in one bound to the top of the tree of Handelian singing, but the rest of the cast was not far behind both in vocal chops and in acting. In the opera’s other big showstopper, Jupiter’s “Where’er you walk”, Ben Bliss transported us to a place of utter beauty in the most gorgeous of tenors. In Juno’s accompagnato “Awake, Saturnia, from Thy Lethargy”, when Alice Coote decreed “let her fall, rolling down the depths of night”, never has a female voice plumbed the cavernous depths so viciously, and her ensuing rage aria was explosive. As Athamas, Carlo Vistoli was something of a nebbish in Act 1, but when we got to his forced marriage in Act 3, he delivered a bravura piece of melisma singing suffused with sarcasm, spitting the words “Since you so kind do prove” into the faces of Jupiter and Juno, who had destroyed his real beloved.

Brindley Sherratt was similarly anonymous as Cadmus in Act 1, but when he took the role of the Somnus in Act 2, his portrayal of the sleep god as a lecherous dirty old man was vocally rich, completely solid and perfectly consonant with the story. Niamh O’Sullivan was an attractive Ino and even a minor part like Juno’s sidekick Iris came through with style, Marianna Hovanisyan painting a terrifying picture of the dragons guarding Jupiter’s palace in “With adamant the gates are barr’d”. Last but not least, the Royal Opera Chorus were fine ambassadors for Handel and his use of them in classical Greek-Chorus style to provide human comment on divine events.

The evening did have its disappointments, most notably the setting, which is downbeat to the point where it is horribly lacking in visual appeal. Designer Annemarie Woods sets the Olympians’ palace as the kind of conference hotel that I’ve spend a lot of my life trying to avoid: blocky, anonymous and dingily lit. The regal Cadmus is demoted to a bell captain in a cheap suit; the greatest pleasures that Jupiter can summon up for Semele’s delectation seem to be the three Cs of cigarettes, champagne and chocolates. While I’m sure that Mears and Woods are trying to make a point about how ultimately empty is the hedonism provided by such gods, it makes for 90 minutes of fairly dismal viewing in Acts 1 and 2. These also dragged because, despite conductor Christian Curnyn’s best efforts, the Royal Opera Orchestra are not a period band and there was a certain weightiness to the sound which wasn’t masked by the brilliance of the singing.

But all this is forgotten from when the curtain goes up on Act 3 and the drama immediately ratchets up. The setting of Somnus’ lair is gloriously decrepit; the cruel deception of Semele by Jupiter and Juno in turn is vividly portrayed, as is Semele’s own attempts to raise her self-confidence to become something she is not, with the attendant downfall. The bitterness of Mears’ version of the ending may be far from Handel’s intentions, but it is so intelligently staged and acted as to make this opera engaging and thought-provoking, far beyond its music’s undoubted beauties. 

****1

Prince Edward, the Duke of Edinburgh is currently on a trip to Canada from Wednesday 25th June to Wednesday 2nd July 2025.

According to palace, the Duke of Edinburgh, as Colonel-in-Chief of The Prince Edward Island Regiment, visited Prince Edward Island to attend celebrations to mark the 150th anniversary of the Regiment, including a Freedom of the City parade.

Edward has been Colonel-in-Chief since 2005.

On the island, the Duke also visited the Abegweit First Nation, took part in an education forum with representatives of the four Atlantic provinces, and met youth organisations.

While in Toronto, he visited the Hastings and Prince Edward Regiment of which he is Colonel-in-Chief, as well as the naval reserve unit HMCS York, and CFB Trenton air base.

Prince Edward met community leaders and emerging youth leaders and took part in engagements recognising the service of public sector organisations, including the Toronto Police Service’s Marine Unit and Emergency Task Force.

The Duke also attended a service at Christ Church, His Majesty’s Chapel Royal of the Mohawk, the first Protestant Church in Upper Canada and the oldest surviving church in Ontario.

On Tuesday 1st July, the Duke of Edinburgh will attend the Canada Day celebrations in Ottawa, and, as Honorary Deputy Commissioner, His Royal Highness will visit the Royal Canadian Mounted Police.

He will also celebrate the Duke of Edinburgh’s International Award, which equips young people in Canada to reach their full potential. The Canada Award has been operating since 1963.

Getty Images

‘Hearty vibes’

Boucheron Boutique opens on Rodeo

Venture inside the newest Boucheron Boutique, the luxury French jewelry house’s first Los Angeles location. On Rodeo Drive, the shop’s interior captures a sense of old Hollywood glamour and infuses influences from California’s lush landscapes. At Boucheron’s core, everything comes back to family, as the business has been passed down through generations dating back to 1858. Seated at one of the many round tables, shoppers are meant to feel as if they are unearthing a new part of their luxurious lineage. Opens June 30. 449 N Rodeo Drive, Beverly Hills. boucheron.com

Loewe Basket Bag

Loewe’s latest Basket Bags are designed to be nestled in warm pockets of sand, edging a rising ocean tide. The bag, which transfers the feeling of summer to its wearer, is part of the Spanish luxury brand’s annual Paula’s Ibiza Collection. Embracing the free spirit of an island lifestyle, the line pays homage to Paula’s Boutique, a staple designer in Ibiza fashion. loewe.com

FCCW celebrates 10 years

The Feminist Center for Creative Work is celebrating its 10th anniversary by revitalizing some of its most beloved programming. Throughout the summer, the Elysian Valley nonprofit will feature workshops from artists who have grown in tandem with the center and create new connective experiences. Artist Gabrielle Civil is hosting Experimentos en Alegría/Experiments in Joy, a bilingual event that guides participants to transform joy from a feeling to a practice. The next day, Yasmine Diaz will be joined by several artists in a panel discussing the importance of intergenerational friendships, for the Generations in Dialogue: Friendship & Mentorship session. July 12-13. 3053 Rosslyn St., Los Angeles. fccla.org

Moncler X Gilga Farms

Multi-hyphenate Donald Glover brings the feeling of warm citrus groves to Moncler’s typical mountainscape with their new collaboration. Inspired by Glover’s Gilga farm, both an operational space and creative sanctuary, the collection is functional and elegant. The drop features items like a hero duvet jacket that doubles as a sleeping bag and colorful gardening hats. Each piece was designed to be “transeasonal,” with an emphasis on a Southern California summer feel. moncler.com

Louis Vuitton Buttersoft Sneakers

Under the creative direction of Pharrell Williams, Louis Vuitton introduces the LV Buttersoft Sneakers. Its chunky silhouette lies at the intersection of casual luxury and old-school sportswear. The leather, streetwear-inspired shoe, featured in the Men’s Fall-Winter 2025 Collection, brings a high-fashion feel to a leisurely style. louisvuitton.com

Queer Lens: A History of Photography at the Getty

Atop the Santa Monica Mountains, the Getty Center presents “Queer Lens: A History of Photography.” It’s the first-ever exhibit in the U.S. to explore photography’s role in documenting the lives of the LGBTQ+ community. With photos traversing anywhere from the 19th century to today, visitors get a peek into what gay clubs were like in the Prohibition era and can see the beginnings of the Gay Liberation Movement. In the perpetual face of homophobia, the Westside art institution brings queer visibility to its forefront, as both a historical record of survival and an affirmation of the community’s impact. On view through Sept. 28. 1200 Getty Center Drive, Los Angeles. getty.edu

Snow Goose by Canada Goose

In Haider Ackermann’s second seasonal collection with Canada Goose, the creative director introduces the Snow Goose Capsule. Drawing from the brand’s nearly 70-year archive, this line brings back classic styles, but with an emphasis on summertime. Each piece is more breathable than ever and is meant to symbolize a connection to the natural world. Between the nylon shorts, light rain gear and outdoorsy cotton pants, Canada Goose asserts its style authority year-round. canadagoose.com

Takako Yamaguchi at MOCA

L.A.-based artist Takako Yamaguchi is unveiling her first solo museum show in the city at the Museum of Contemporary Art. Over the course of her 40-year career, her paintings have grappled with Eastern and Western artistic influences as a way to understand cultural ownership and ethnic identity. The exhibition spotlights her signature abstract figurations and natural landscapes. On view through Jan. 4. 250 South Grand Ave. Los Angeles. moca.org

Brain Dead Tennis Equipment Collection

When gearing up for a tennis match, Brain Dead offers options for the fashionable underdogs. In its latest tennis equipment collection, the L.A.-based streetwear brand adds a few more staple pieces — like a seersucker jacket and a fully equipped racquet tote — to its growing selection of tennis wear. This line is meant for those who bring a certain level of style (and skill) to the courts. braindead.com

Digital Witness Dance Party at LACMA

Right before LACMA’s “Digital Witness: Revolutions in Design, Photography, and Film” exhibit closes, the museum is throwing a techno dance party in celebration. In line with the show, which tells the history of digital manipulation tools, the party will immerse attendees in technologically influenced aesthetics, both visually and sonically. Tokimonsta, an L.A. local and experimental DJ, will be behind the turntables, and fellow artist Andrew Huang will do large-scale projection mapping around the space. As the music rages on, the event will also allow visitors to live out their “Night at the Museum” fantasies — offering after-hours access to the exhibition. July 12. 5905 Wilshire Blvd. Los Angeles. lacma.org

Claire Sullivan would like to reintroduce herself. Well, sort of. It’s not that she’s gone anywhere—in the last year she has created custom looks for Shygirl, Addison Rae, Chloë Sevigny, and Clairo; and Doechii, Sarah Paulson, Rachel Ziegler, Kylie Jenner, and Troye Sivan have all worn Miss Claire Sullivan in magazine editorials. Her latest “collection lookbook” is unlike regular lookbooks: instead of showing clothes that people might be able to purchase in the future, it documents most of the custom work she has done since 2022, presenting it as a body of work.

“Everything we make is ‘one-off,’ so everything that’s here was something that I made for myself to wear to an event, or I made for an editorial and we got it back,” the 31-year old Sullivan tells me during an appointment at her bright and airy studio in Bed-Stuy. “This is a ‘collection’ of all the pieces we’ve done so far. We wanted to see what it looks like to have the Miss Claire world all together, and I think it’s exciting because it kind of opens the door for what the expansion could be.”

The Miss Claire Sullivan aesthetic is high-femme, characterized lots of volume, and expertly draped fabrics that caress the body—with a bit of sequins or a bit of shine for an extra dose of drama. “Somebody shared with me recently that witches say that glamour is a form of protection magic—and I was like, ‘oh my god! I really identify with that’” she explains. “For me, dressing up is literally magic, and to be able to share that with other people through the custom experience is really, really beautiful.”

The 20-look slideshow features many of Sullivan’s most memorable pieces, including the map dress she created for Hailey Bieber to wear during Vogue World promos in 2022—her first celebrity placement—and the tutu Addison Rae wore at last year’s VMA’s, that has been repurposed as a top. She considers her two trademark items to be a tutu made of “angel wings” she had previously fashioned as part of a Halloween costume, and a lace catsuit. “[The catsuit] is one of the first pieces I made that felt like it could be worn casually; and it’s since become a staple,” she adds. Other highlights include a short cotton dress made from men’s shirting, a bodice made from a deconstructed tuxedo jacket, an asymmetrical draped sequin gown, and her Minnie Mouse costume from last Halloween. What emerges is a definite vision of glamour and sensuality with an all-important touch of playfulness.

A reality TV star who was imprisoned for defrauding banks of tens of millions of dollars before being pardoned in May by Donald Trump says there is nothing for him to be sorry about.

“I don’t have an apology to give you or anyone else over the money that I’ve made,” Todd Chrisley said in an interview with ABC News that was posted online Monday.

Speaking to the network alongside his wife, Julie, who was also imprisoned and then pardoned by the president, Chrisley’s comments were some of his most extensive comments yet about his and his spouse’s abbreviated experiences behind bars.

He joked that his first post-pardon shower back home was as exciting as his “first sexual encounter”. And, as his family begins planning to return to television with a new reality show on Lifetime, he said “it doesn’t matter what someone else’s opinion” of him is.

“No one’s opinion of me has ever caused me to question who I am at the core,” the former co-star of Chrisley Knows Best said to ABC News. “So I don’t worry about someone else’s opinion.”

Chrisley Knows Best aired on USA Network from 2014 to 2023, depicting Todd as a wealthy real estate developer and entrepreneur who was raising a family with Julie in their suburban Atlanta mansion.

But in 2019, during Trump’s first presidency, the federal government charged the Chrisleys with tax evasion and bank fraud. Jurors in 2022 convicted the couple of defrauding banks of at least $30m, leaving Todd to be sentenced to 12 years in prison and Julie to seven years.

The couple’s daughter Savannah Chrisley was a vocal Trump advocate as he successfully ran for a second presidency in November 2024. Trump then pardoned Todd and Julie on 27 May, a little more than four months after he was sworn back into the Oval Office.

Trump personally called Savannah to inform her of her parents’ pardons, according to a White House video.

The Chrisleys’ pardons freed them from prison after serving less than three years. Their pardons came amid a series of clemencies that Trump gave to supporters in what evidently was a broader rebuke against a justice system that had convicted him of criminally falsifying business records months before he retook the White House.

Some particularly criticized the Chrisleys’ pardons because an appeals court had upheld their jury convictions.

Nonetheless, as ABC News noted, Todd argued that the makeup of the couple’s jury was questionable and the president was right to pardon him and Julie.

Julie recounted to the network that she had made some everlasting friendships while incarcerated. “I have met some amazing women … that I will be friends with till the day that I die,” she told ABC.

Yet, unsurprisingly, Todd said he and his wife were relieved to be out of prison early as they weigh whether to move to South Carolina and film themselves converting a mansion into a hotel.

“You don’t realize how much your freedom means to you until you don’t have it,” he remarked.