Lifestyle
As a 'Seasoned Professional,' Jenny Slate now finds strength in her sensitivity
Jenny Slate’s latest stand-up special is Seasoned Professional.
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Amazon Prime Video
Jenny Slate’s latest stand-up special is Seasoned Professional.
Amazon Prime Video
Comic Jenny Slate says her life is a non-stop “emotional multimedia experience. “That also describes her new comedy special, Seasoned Professional, in which she opens up about childbirth, therapy and dating her now-husband.
Slate got her start doing improv as a college student at Columbia University, and began performing stand-up in her early 20s. A self-described “very sensitive” person, she shares that vulnerability onstage — including her tendency to pick up on the “micro bad mood” of whoever she’s talking to.
Slate says the birth of her daughter in 2021 changed her in some ways. “My cheaper vanities have kind of fried off in the exhaustion,” she explains.
But, she adds, “I still have the same personality that I’ve always had. … There’s very little that happens in my head that’s not going directly into my husband’s face.”
Slate co-wrote and starred in the Oscar-nominated animated film Marcel the Shell with Shoes On, which was adapted from the web series that she co-created with her ex-husband Dean Fleischer Camp. She’s also done voice work for other animated films and TV shows, including Bob’s Burgers, Big Mouthand Zootopia.
Interview highlights
On talking about her feelings in her comedy
If you asked me to tell you what it is [I’m experiencing] right now, it would look the way it looks when I’m doing stand up. There would be screaming. There would be a doorway into my imagination where I’m imagining what would have even had to happen in the other person’s head in order for them to interact with me in this way. And that is my experience. …
I’m not one of these people that’s going through her life and being like, “Ooh, that’s material! … I’m going to do something interesting, so maybe it will be material.” I’m just going through and living my normal life, but I don’t feel that I have to do anything to turn it into comedy. But of course I’ll work on the bits.
On consciously channeling her sensitivity toward empathy and other people instead of self-reflection
I think that when I started doing stand-up in my early, mid-20s, like maybe 23, 24, I realized a lot of what I want to talk about is how I feel. I started to be more aware of it and I also started going to therapy. I think I felt ashamed of how much it was so self-focused. Like, what does this person think about me? I just felt like, why am I like this? This is such a gross way to be. …
In getting on stage and telling the story and needing it to be dynamic and other characters have to exist besides you. … With other people now it’s become more of like, “How do I turn this into empathy?” Like if I am interested in this person, if I see myself starting to focus on them, make it about them, ask questions, don’t make weird assumptions, and show them inside of myself and suffer by that.
On the bats in her childhood home
[My parents] got in a fight with a contractor who was working on our house, and there was a hole in our roof because he was like, “Forget it!” And he left. We had just so many bats in our house because we had, like, an open roof for a while. It still makes me laugh. …
My dad, he would come out in the middle of the night in his nighttime apparel, which at the time was a very, very long night shirt. He worked at the time at the computer company called Wang … and he had this shirt that said “Wang” on it. And he would run down the hallway with an old tennis racket and swat the bats against the hallway. We had, like, bat blood on our wallpaper. I remember just being like, “He got one!” Just such a bummer. Just such an intense way to live and be. I thought it was really funny. I talked about it on stage for so long because I was fascinated by it. Like, wow, I thought this was normal for so long that I didn’t even think about it. And now I realized that this was actually very specific.
On growing up in a house her family believed was haunted
My dad had discovered a packet of love letters that were written to one of the previous owners of the house, but they weren’t from her husband. They were from a captain of a ship. And when my parents first moved in, my mom woke up smelling pipe smoke. My dad smoked a pipe at the time, and she called out to him to come to bed and then rolled over and realized that he was asleep. And so she woke him up and she was like, “You left your pipe burning, you’re going to burn down the house!” And so he went out into the hallway and saw on the stairs — he says he sort of saw it, but didn’t see it — a man in a heavy mariner’s [or] seaman’s jacket walking up the stairs.
And there was a bunch of other stuff that happened. I’m the only one that never saw anything, actually, which in itself is scary to me because I feel like there’s like a backlog, it’s all going to come at once. … I think we were all a bit proud of it, too. It’s mystical. … It was kind of like a treasure, but a terrible one to have.
On working through her shame about her divorce from Dean Fleischer Camp
I think it’s probably just a very, very basic embarrassment of being like … This [marriage] is the decision! Never going back. Absolutely sure. And then having it fall apart rather quickly, like we weren’t married for very long at all. …
When I look back on it now, I’m like, it’s weird that I was embarrassed, but, I guess I don’t like to fail, although I have failed many times. I think it was hard to look at the things that were actually really sad and really scary.
On talking to her 3-year-old daughter in the voice of Marcel the Shell with Shoes On
I talk in Marcel’s voice, sometimes without realizing it. … The first time she heard it, [she was like] “What is that?” She thinks he lives inside of me, but that’s not disturbing to her. She also knows what he looks like, but she never asked to see him. She just wants to talk to him. Marcel gets more info from her. So actually, as Marcel, I just ask her questions. Like, “Why didn’t you like that sandwich? What was wrong with it? What happened at school today?” Like, she’ll give Marcel a bigger answer. Which is really nice. And then she likes singing with Marcel.
Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
A recently installed sign at the Kennedy Center in Washington, D.C., as photographed on Jan. 10. The center’s name change has not been approved by Congress.
Mandel Ngan/AFP via Getty Images
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Mandel Ngan/AFP via Getty Images
Two senior staffers have departed the John F. Kennedy Center for the Performing Arts in Washington, D.C. — one of whom was officially on the job for less than two weeks.
Kevin Couch had been announced as the Kennedy Center’s new senior vice president of artistic planning on Jan. 16, at which point he was hailed as a “visionary entertainment leader” with “over two decades of experience in artist management, global booking and high-level brand partnerships,” including booking live events in San Antonio, Tulsa, Little Rock and Springfield, Mo.
Couch, who is a drummer, confirmed to NPR on Wednesday evening that he had resigned from the federally funded center, but declined to share any details.
Meanwhile, the Kennedy Center’s senior director of artistic operations, Sarah Kramer, confirmed to NPR on Wednesday evening that she had been fired after a decade working there.
The Kennedy Center did not respond to NPR’s multiple requests for comment.
Since President Trump became chair of the performing arts complex and later moved to change its name to the Trump Kennedy Center, several prominent artists have canceled their planned performances and presentations of their work. Cancellations announced this month include the composer Philip Glass, opera star Renée Fleming, the banjo player Bela Fleck and the Seattle Children’s Theatre. The Kennedy Center has told NPR in prior statements that the artists cancelling have been doing so under pressure from “leftist activists.”
The center’s name change did not receive the required approval from Congress. Last month, Rep. Joyce Beatty (D-Ohio), an ex-officio member of the Kennedy Center’s board, filed a lawsuit against President Trump, the center’s president Richard Grenell, and others over the name change.
Jennifer Vanasco edited this story.
Lifestyle
‘No lines and big, wide-open runs’: This woodsy ski town is like Mammoth without the crowds
You are a beginning or intermediate skier, allergic to long lift lines, more interested in peace and quiet than après-ski action. Or you have young kids, ripe for introduction to skiing or snowboarding. Or you simply want a rustic mountain getaway, one where you can amble through a woodsy little village with zero Starbucks.
These traits make you a good candidate for June Lake, the eastern Sierra town that lives most of its life in the shadow of bigger, busier Mammoth Lakes.
“It’s way family-friendlier than Mammoth,” said Daniel Jones after a day of June Lake snowboarding with Lorena Alvarado and children Gabriela Gonzales, 7, and Amirah Jones, 2. They had come from Riverside, a first-time visit for the kids.
After a day of snowboarding at June Mountain, Daniel Jones and Lorena Alvarado of Riverside head for the parking lot with children Gabriela Gonzalez, 7, and Amirah Jones, 2.
(Christopher Reynolds / Los Angeles Times)
Like me, they’d arrived in time to savor the sight of the Sierra under all the snow that fell in late December. That storm knocked out power for several days, but led to the opening of all the trails on June Mountain, the town’s ski resort.
The main road to June Lake is the 14-mile June Lake Loop, a.k.a. State Route 158, which branches off from U.S. 395 about 10 miles north of the exit for Mammoth, roughly 320 miles north of Los Angeles.
Once you leave 395, things get rustic quickly. The two-lane loop threads its way among forests and A-frames and cabins, skirting the waters of June Lake and the lake’s village, which is only a few blocks long. Check out the three-foot icicles dripping from the eaves and keep an eye out for the big boulder by the fire station on the right.
After the village, you pass Gull Lake (the tiniest of the four lakes along the loop) and the June Mountain ski area. Then, if you’re driving in summer, the road loops back to 395 by way of Silver Lake and Grant Lake.
The June Lake area in the eastern Sierra includes several bodies of water. Rush Creek, seen here, feeds into Silver Lake a few miles from the village of June Lake.
(Christopher Reynolds / Los Angeles Times)
But in winter, the northern part of that loop is closed to cars, Maybe this is why the village, mountain and environs so often feel like a snowbound secret.
As for the June Mountain ski area, its 1,500 accessible acres make it much smaller than Mammoth Mountain (with whom it shares a corporate parent). And it has a larger share of beginner and intermediate runs — a drag for hotshots, maybe, but a boon for families.
By management’s estimate, June Mountain’s 41 named trails are 15% beginner level and 40% intermediate. (At Mammoth, 59% of 180 named trails are rated difficult, very difficult or extremely difficult.) Leaning into this difference, June Mountain offers free lift tickets to children 12 and under. (Adult lift tickets are typically $119-$179 per day.)
From the chairlifts at June Mountain ski resort, visitors get broad views.
(Christopher Reynolds / Los Angeles Times)
The ski area is served by six chairlifts, and just about everyone begins by riding chair J1 up to the June Meadows Chalet (8,695 feet above sea level). That’s where the cafeteria, rental equipment, lockers and shop are found and lessons begin.
That’s also where you begin to notice the view, especially the 10,908-foot Carson Peak.
“Usually, me and my family go to Big Bear every year, but we wanted to try something different. Less people. And a lot of snow,” said Valeriia Ivanchenko, a 20-year-old snowboarder who was taking a breather outside the chalet.
“No lines and lots of big, wide-open runs,” said Brian Roehl, who had come from Sacramento with his wife.
“The lake views are nice, too,” said Roxie Roehl.
June Lake is a 30-minute drive from Mammoth. Because both operations are owned by Denver-based Alterra Mountain Co., Mammoth lift tickets are generally applicable at June. So it’s easy to combine destinations.
Or you could just focus on June Lake, an unincorporated community with about 600 people, one K-8 public school and one gas station (the Shell station where 158 meets 395).
In summer, when it’s busiest, fishers and boaters head for the lakes and you can reach Yosemite National‘s eastern entrance with a 25-mile drive via the seasonal Tioga Road.
The Tiger Bar has anchored June Lake’s downtown since 1932.
(Christopher Reynolds / Los Angeles Times)
In winter and summer alike, the heart of June Lake‘s village is dominated by the 94-year-old Tiger Bar & Café (which was due to be taken over by new owners in January); Ernie’s Tackle & Ski Shop (which goes back to 1932 and has lower rental prices than those at June Mountain); the June Lake General Store and June Lake Brewing.
At the brewery — JLB to locals — I found Natalie and Chris Garcia of Santa Barbara and their daughter Winnie, 18 months old and eager to chase down a duck on the patio.
“This is her first snow,” Natalie Garcia said, adding that June Lake “just feels more down-home … less of a party scene.”
“We built a snowman,” said Chris Garcia.
Natalie and Chris Garcia of Santa Barbara play with their daughter, Winnie, and a duck at June Lake Brewing.
(Christopher Reynolds / Los Angeles Times)
It’s fun to imagine that rustic, semi-remote places like this never change, but of course they do, for better and worse. The Carson Peak Inn steakhouse, a longtime landmark, is closed indefinitely. Meanwhile, Pino Pies, which offers New Zealand-style meat pies, opened in the village last spring. (I recommend the $13 potato-top pie.)
Pino Pies, open since 2025 in June Lake, offers New Zealand-style meat pies.
(Christopher Reynolds / Los Angeles Times)
Next time I’m in town I hope to try the June Deli (which took over the former Epic Cafe space in the village last year) and the June Pie Pizza Co. (New York-style thin crusts) or the Balanced Rock Grill & Cantina. And I might make a day trip to Mono Lake (about 15 miles north).
I might also repeat the two hikes I did in the snow.
For one, I put crampons on my boots and headed about 3 miles south on U.S. 395 to the Obsidian Dome Trail, a mostly flat route of just under a mile — great for snowshoes or walking dogs.
For the other hike, I headed to the closed portion of June Lake Loop and parked just short of the barricade. Beyond it, a hiker or snowshoer finds several miles of carless, unplowed path, with mountains rising to your left and half-frozen Rush Creek and Silver Lake to the right.
When part of Highway 158 closes to auto traffic in winter, hikers and snowshoers inherit a broad, mostly flat path with views of Silver Lake.
(Christopher Reynolds / Los Angeles Times)
“You get up to the lake and you hear the ice cracking. It’s wonderful,” said Mike Webb, 73, whom I met on the trail with his son, Randy, 46, and Randy’s 10-year-old and 12-year-old.
“This is serenity up here,” said Webb. “If you’re looking for a $102 pizza, go to Mammoth.”
Philadelphia (1993)
Library of Congress
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Library of Congress
Two actors received double recognition when the Library of Congress announced its most recent additions to the National Film Registry, a collection of classic films intended to highlight film preservation efforts and the depth and breadth of American film.
Bing Crosby, the popular midcentury crooner, starred in White Christmas (1954) and High Society (1956). And Denzel Washington starred in Glory (1989) and Philadelphia (1993), all now part of the registry’s roundup of the country’s most culturally significant films.
Created in 1988, the National Film Registry adds 25 films every year. New additions are usually announced in December of each calendar year. The Library of Congress did not explain why its 2025 films were announced in 2026.
Half a dozen silent films were added to the registry, more than usual. Many of them were recently discovered or restored. The oldest, The Tramp and the Dog (1896), is an early example of “pants humor,” which comes from the fun of watching people lose theirs. It is likely the first commercial film made in Chicago. The Oath of the Sword (1914) is the earliest known Asian American film, about a Japanese student in California yearning for his beloved back home.
Other newly added silent films include the first student film on record, made in 1916 at Washington University in St Louis, Mo. and Ten Nights in a Barroom (1926), a melodrama with an all-Black cast, one of only two surviving films made by the Colored Player Film Corporation of Philadelphia.
Four documentaries were added to the collection, including Ken Burns’ first major documentary, The Brooklyn Bridge (1981).
Widely familiar additions include one Boomer classic – The Big Chill (1983) – and several Gen X ones: Before Sunrise (1995), Clueless (1995) and The Karate Kid (1984.)
The Karate Kid (1984).
Library of Congress
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Library of Congress
“I’m amazingly proud,” star Ralph Macchio told the Library of Congress in an interview. “The National Film Registry and film preservation are so important because it keeps the integrity of cinema alive for multiple generations.”
Other contemporary movies added to the registry include The Truman Show (1998), Frida (2002), The Incredibles (2004) and The Grand Budapest Hotel (2014), set in an Alpine resort in the 1930s. Director Wes Anderson credited the Library of Congress for inspiring the movie’s distinct visual style.
The Grand Budapest Hotel (2014)
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Library of Congress
“When we were first starting to try to figure out, how do we tell this story… the architecture and the landscapes… they don’t exist anymore,” Andserson said in a statement, explaining that he started his research in the Library of Congress “We just went through the entire photocrom collection, which is a lot of images. And …we made our own versions of things, but much of what is in our film comes directly – with our little twist on it – from that collection, from the library, the Library of Congress.”
The entire list of movies added to the National Film Registry for 2025 follows in chronological order.
• The Tramp and the Dog (1896)
• The Oath of the Sword (1914)
• The Maid of McMillan (1916)
• The Lady (1925)
• Sparrows (1926)
• Ten Nights in a Barroom (1926)
• White Christmas (1954)
• High Society (1956)
• Brooklyn Bridge (1981)
• Say Amen, Somebody (1982)
• The Thing (1982)
• The Big Chill (1983)
• The Karate Kid (1984)
• Glory (1989)
• Philadelphia (1993)
• Before Sunrise (1995)
• Clueless (1995)
• The Truman Show (1998)
• Frida (2002)
• The Hours (2002)
• The Incredibles (2004)
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