Entertainment
This silent-film-era instrument is disappearing. Not on Joe’s watch
If you walked past Joe Rinaudo’s house in La Crescenta-Montrose, you probably wouldn’t think anything extraordinary of it. You wouldn’t expect, for example, that it contains a 20-seat silent movie theater with a semi-complete organ, a mini museum dedicated to instruments of the silent cinema era, or an extensive basement workshop whirring with the sounds of power tools. And you certainly wouldn’t expect the 74-year-old Rinaudo seated at a century-old instrument, yanking pull-cords and pushing pedals while the machine in front of him whirs and whistles to a rag-timey tune.
The instrument is Rinaudo’s primary passion in life, an American invention that was key to the viewing experience of silent films in the early 20th century but has been forgotten by most of the country: the photoplayer.
Joe Rinaudo plays a photoplayer in his living room.
A cousin to self-playing player pianos, photoplayers automatically play music read out of perforated piano rolls. During their slim heyday — from their invention around 1910 until about 1930, when the silent film era is thought to have ended — photoplayers delighted audiences (mostly in the U.S.) as accompaniments to silent movies, especially Buster Keaton-esque comedies. But then the talkies came, and photoplayers were rendered obsolete, slipping out of public awareness as quickly as they came on scene. Rinaudo, in love with these instruments and their role in silent cinema, has spent more than half a century tracking down, restoring and sharing the word about old photoplayers and similar instruments. And as he ages, Rinaudo hopes to guarantee the preservation of the photoplayer’s legacy with the creation of a nonprofit organization dedicated to the restoration of and education about these instruments and silent cinema.
Among the small community of people who adore the photoplayer, Rinaudo is something of a patron saint. “When people think of photoplayers, they think of him,” says Nate Otto, a restorer of player pianos and similar instruments including photoplayers in Anoka, Minn. Rinaudo’s notoriety is in no small part thanks to the visibility of the many YouTube videos of his playing, including a clip of his 2006 spotlight on “California’s Gold With Huell Howser” that’s been viewed 2.6 million times. Rinaudo is also a central connective figure for the dozen or so folks who actively restore or play photoplayers. “He knows pretty much all the American photoplayers that are currently being restored,” says Otto, “because all of us have contacted him for one reason or another.”
Preserving this slice of American culture and passing it down to younger generations is “my life’s work,” says Rinaudo. But it’s no easy task given how few exist today and how little access the public has to see them. Of the approximately 4,500 instruments produced between 1911 and 1926 by American Photo Player Co. — one of the earliest and most prominent photoplayer producers, and the brand of photoplayer Rinaudo is specifically passionate about — only about 50 still exist worldwide, and only about a dozen of them are in playable condition. Just one photoplayer, which Rinaudo restored and donated to the Academy of Motion Picture Arts and Sciences, exists in a public space. The rest are tucked away — some owned by people like Rinaudo who play them and put them to use, but most stashed away by private collectors.
Of the known remaining photoplayers, Rinaudo has either owned or helped restore about six of them over the years — and at one point he owned four at once.
Born in Santa Monica in 1951, Rinaudo grew up when silent movies still aired on his family’s black-and-white television. His parents had a player piano in the living room, and at a young age Rinaudo learned how to service it when it needed repairs. As a teenager, he thought, “Wouldn’t it be great if the player piano could play along with a silent movie?” But that wasn’t really doable. Player pianos have space for just one piano roll, so when the track you’re playing runs out, you’re forced into a moment of awkward silence as you wait for the instrument’s spool to rewind so you can swap in the next track. At first he tried jerry-rigging his own setup to accommodate two rolls. But then, Rinaudo recalls, “An old timer said, ‘What are you doing that for? Why don’t you buy one of them photoplayers?’ And I said, ‘What’s a photoplayer?’”
Joe Rinaudo has a museum area in his home dedicated to preserving the history of photoplayers and other bygone film accessories.
Rinaudo spent the next few years searching for one, cold-calling player piano sellers, theater owners and antique shops. When he was 19, he got his first real lead. Word was that the Hoyt Hotel in Portland, Ore., had a photoplayer and a performer who could put on a show. Rinaudo cajoled a buddy to drive them up in his Volkswagen van one weekend. “This hotel was fabulous,” remembers Rinaudo, with a ballroom styled like a turn-of-the-20th-century bar with gas lights. And then there was the photoplayer.
“I was blown away by the sound coming out of it,” says Rinaudo. “People were singing and screaming and clapping — it was just unbelievable. And I thought, ‘I’ve got to have one of those.’”
When the Hoyt shut down a year later, that very same photoplayer went up for auction. Rinaudo drove back up, but was outbid at $8,600 (limited as he was by a 20-year-old’s income). A year later, he got wind of a man looking to sell a photoplayer for $5,000. He went to go see it, but once again he “just couldn’t afford it.”
But providence kept giving Rinaudo chances. A year later, the seller of that photoplayer came back to Rinaudo and offered it to him for just $3,500. Rinaudo’s first photoplayer was secured, and he would spend the next two years restoring the instrument in the living room of his parent’s house. “At first they were a little worried,” he says, about how he was spending his time and the mess in their house, “but they came around.” To learn how to restore his instrument, Rinaudo enlisted the help of a mechanic friend who taught him how to fix all the valves, gears, pipes and bellows. (For work, using the skills he learned, Rinaudo entered the automechanic business, but later left to start his own lighting business, which he still operates.)
A collection of photoplayer rolls sits on top of Joe Rinaudo’s photoplayer.
As soon as his photoplayer became playable, Rinaudo sat and practiced every day. Now, “I don’t know of any other players that can perform like I do,” he says. And when a photoplayer is performed live, “the whole room vibrates,” says Bruce Newman, a restorer of pneumatic instruments, including photoplayers, in Oregon who had the pleasure of seeing Rinaudo play in his home about 25 years ago. “You’re feeling it in the core of your body and it’s exhilarating.”
Over the years, Rinaudo continued to hunt for photoplayers, incessantly putting out the word to whoever might hear of a lead. He finally managed to purchase the Hoyt Hotel photoplayer, which wound up in Arizona. Other adventures included traveling to a warehouse in Seattle, but he couldn’t afford the asking price; getting outbid at a Las Vegas auction; driving to an old theater in Fresno that was said to have a photoplayer, only to learn that the building had been torn down; hopping through antique stores in Bakersfield after hearing a rumor; and searching an old 19th century San Diego hotel and coming up empty.
While Joe Rinaudo mostly focuses on photoplayers, he also has other memorabilia in his home, including this old film camera and a phonograph.
“One time, one guy told me, ‘There’s a photoplayer buried in the belly of the Regent Theater in downtown Los Angeles,’” says Rinaudo. He tracked down the owner in 1969, who brought him inside the dark, rat-infested building with a sledgehammer. The owner smashed through the stage, but there was no photoplayer. “That was one of many wild goose chases that I had to go on, because you never know,” Rinaudo says. “It was like I was on a hunt, or an archaeological dig.”
As he searched over the years, Rinaudo found a community of restorers who shared leads, expertise and parts. He built up a reputation. “I do see him as an authority,” says Newman. “If I have trouble identifying something, I call up Joe and he can help me figure it out.” And when YouTube came along, Rinaudo started sharing videos of himself performing, which many photoplayer lovers, including Newman and Otto, credit as their introduction to these instruments. A few thousand loyal followers keep tabs on Rinaudo’s work and performances via Facebook or through his Silent Cinema Society blog posts and newsletter.
Despite these admirers, whether photoplayers will survive the coming decades is in question. Most restorers are about Rinaudo’s age. At 61, Bruce Newman is on the younger side, and at 36, Otto — who Rinaudo calls “the future” — is the youngest by far. As Rinaudo sees it, photoplayers are meant to be played and enjoyed, but while his videos have undoubtedly helped grow an international awareness of and enthusiasm for photoplayers, the pool of restorers is not growing. And the future of the instruments’ playability is at stake.
“I’ve taken it upon myself to carry that torch,” says Rinaudo. To that end, he and a few friends and collaborators are starting a nonprofit group, Silent Cinema Art and Technology, dedicated to the preservation of and education about silent films and instruments like the photoplayer. The hope is that the organization can be a sustainable vehicle for raising money to fund future restorations. Rinaudo plans to use his home theater and museum space — a temple to his passion — to put on shows and screenings for benefactors and offer limited group tours and educational opportunities for children. He hopes that the nonprofit can preserve and use the theater and museum even after he’s gone.
“It’s a calling,” says Rinaudo, referring to the desire to share the gospel of the photoplayer and keep the history of silent cinema alive. “My dad always used to tell me, ‘You must leave this Earth in better condition than you found it,’” he says. “Everybody has to find their path to do that, and I hope I found mine. I think I have.”
Joe Rinaudo hopes to host tours and educational opportunities at his home theater and museum through a nonprofit group dedicated to preserving photoplayers.
Passing “Go” has become especially lucrative for mobile game publisher Scopely.
The Culver City-based Scopely launched “Monopoly Go!” in 2023, betting fans of the classic board game would flock to a mobile version aimed at casual gamers.
By 2025, “Monopoly Go!” had accrued $6 billion in lifetime in-app purchase revenue, becoming the fastest free mobile game to do so, according to app analytics firm Sensor Tower.
This summer, the app is expected to reach $8 billion in lifetime revenue, the company says, solidifying “Monopoly Go!” as Scopely’s biggest game and far surpassing the company’s popular “Pokémon Go.” The company declined to disclose its total profits.
Scopely Co-Chief Executive Javier Ferreira.
As overall downloads in the mobile game market have stagnated and in-app purchases and retention become the main drivers of growth, Scopely has hit on an age-old Hollywood strategy — using known franchises and intellectual property to bring out fans.
“These are incredibly durable and long-lasting games that have really passionate communities and fandom around them,” said Javier Ferreira, co-chief executive of Scopely. “We’re in the business of building people’s favorite thing, and that’s a difficult thing to do. The power of [intellectual property] is that, in some cases, that is already their favorite thing.”
The company’s journey toward “Monopoly Go!” began in 2014, when Scopely formed a partnership with Rhode Island-based toymaker Hasbro. Its first collaboration was a Yahtzee mobile dice game that ultimately drew millions of players worldwide (though it was especially popular in the U.S.) and generated more than $1 billion in lifetime revenue.
After that, Scopely approached Hasbro about taking on the “crown jewel” of its board game empire — Monopoly.
Monopoly’s massive global popularity was an obvious draw. But adapting an hours-long real estate transaction game for a casual, mobile audience proved challenging.
Development of what would become “Monopoly Go!” ultimately took seven years, two of which were spent trying to make movement around the board more fun. In that time, the company scrapped two versions of the game; one deemed too competitive, and one that was too complex, Ferreira said.
Developers wanted to capture the “roller coaster feel” of the board game’s highs and lows, while also having simple rules and ensuring a strong social element, he said.
“We couldn’t just copy,” Ferreira said. “We had to reinvent it and re-imagine it, and that’s a complicated, creative endeavor.”
Today, “Monopoly Go!” brings in more than $2 billion in annual revenue and has been downloaded across the globe more than 300 million times.
Now with “Pokémon Go,” which the company owns after acquiring maker Niantic’s game business last year, “Scopely has gone from a successful publisher to one of the defining companies in mobile gaming,” Randy Nelson, head of insights at Appfigures, a mobile app analytics firm.
“The company cracked the code on licensed games years ago,” he wrote in an email. “Its biggest hits work because they’re great games first and recognizable brands second.”
Though the company’s overall game downloads have slowed, its gross revenue has largely increased every year since 2020, according to Appfigures data.
Shortly after Scopely released “Monopoly Go!,” the company was acquired by Savvy Games Group, which is owned by the Saudi Public Investment Fund, for $4.9 billion.
In a statement about the deal, Savvy Games Group Chief Executive Brian Ward touted the success of “Monopoly Go!” as “indicative of Scopely’s ongoing position at the forefront of the global games sector.”
Representatives of the Saudi investment fund are part of Savvy Game Group’s board and do sometimes give some feedback on company initiatives, though Ferreira said the company has remained “very independent.”
The proposed acquisition of gaming giant Electronic Arts by the Saudi Public Investment Fund is not expected to affect Scopely since EA largely focuses on high-budget console and computer games, he said.
As Scopely, now 3,000 employees strong, looks to the future, it has embarked on a number of entertainment partnerships with studios to add franchises such as “The Simpsons,” “Hello Kitty” and Marvel to its mobile game ecosystem.
“They give us access to these universes that millions of people love and are really invested in,” Ferreira said. “We see this as a very strategic part of our business.”
Rose of Nevada is a genuinely poetic movie that pushes the boundaries of the Groundhog Day-style time-travel narrative while carving out an identity completely its own. Rather than relying on the familiar mechanics that audiences have come to expect from the genre, the film approaches the concept through a more reflective and emotional lens. The result is a movie that feels thoughtful, ambitious, and surprisingly moving.
It makes a huge on-screen presence felt through its cast, particularly George MacKay and Callum Turner, who both deliver performances that elevate the material beyond a simple science-fiction premise. Combined with breathtaking visuals and a strong directorial vision, Rose of Nevada becomes something far more memorable than many of its genre contemporaries.
George MacKay continues to prove why he is one of the most compelling actors working today. Following his acclaimed work in 1917, he once again demonstrates an ability to carry a film through sheer presence and emotional authenticity.
Every scene feels grounded because of his performance, even when the story ventures into more abstract territory. Alongside him, Callum Turner delivers what could easily be viewed as a breakout performance. The chemistry between the two leads helps anchor the film, allowing audiences to connect with the characters even as the narrative challenges conventional storytelling expectations.
One of the film’s greatest strengths is its visual presentation. The cinematography is nothing short of earth-shattering. Nearly every frame looks like a carefully crafted painting, capturing both the beauty and mystery of the world these characters inhabit. There is a dreamlike quality to the imagery that perfectly complements the film’s themes of time, memory, and destiny.
The camera lingers on landscapes just long enough to allow viewers to soak in their beauty without ever slowing the pace. It’s the kind of cinematography that demands to be appreciated on the largest screen possible.
Director Mark Jenkin continues to establish himself as one of the most distinctive voices in modern British cinema. Following the atmospheric and haunting Enys Men, Jenkin once again crafts a story that feels deeply connected to folklore and place.
The British backdrop becomes a character in itself, with rugged coastlines, open landscapes, and isolated locations contributing to the film’s unique atmosphere. His direction never feels showy or excessive; instead, he trusts the audience to absorb the experience and interpret its deeper meanings.
What makes Rose of Nevada especially fascinating is how it recalls classic time-travel films without simply copying them. There are moments that evoke the spirit of The Final Countdown, particularly in the sense of wonder and uncertainty surrounding the temporal elements.
Yet the film remains firmly rooted in its own identity, focusing more on emotion and introspection than spectacle. It invites viewers to engage with its ideas rather than simply consume them.
This is also one of those rare films that benefits from reflection after the credits roll. It is not a movie designed to provide easy answers. Instead, it lingers in the mind, encouraging discussion and interpretation. The more time you spend thinking about it, the more rewarding it becomes. Much like a fine wine, Rose of Nevada continues to improve with age, revealing new layers and details upon reflection.
Overall, Rose of Nevada is a beautiful, ambitious, and visually stunning piece of filmmaking that deserves to be experienced on the big screen. Powered by exceptional performances, remarkable cinematography, and confident direction, it stands as one of the more unique takes on time travel in recent memory.
Overall Grade: 4/5 Stars
Entertainment
Kylie Jenner hit with third lawsuit as former chef claims Palm Springs party led to miscarriage
Less than two months after being sued by two former housekeepers, Kylie Jenner has been hit with a third workplace lawsuit. The beauty mogul’s former private chef alleges a grueling workload led to her miscarriage.
Filed Monday in Los Angeles Superior Court, the complaint alleges the woman routinely worked 11- to 12-hour shifts, five days a week, and was assigned physically demanding tasks despite alerting supervisors to her high-risk pregnancy.
A representative for Jenner did not immediately respond to The Times’ request for comment.
According to the filing, reviewed by The Times, the woman was told she was selected to work as Jenner’s private chef around Thanksgiving 2024. In early December 2024, the woman claims she informed her supervisors, also named as defendants, that she was three months pregnant and “required reasonable accommodations to protect her health and pregnancy.”
On New Year’s Eve in 2024, supervisors who had allegedly been hostile with the former chef directed her to “lift and transport heavy food items across the street and uphill without assistance,” the documents say.
As a result of the physical exertion, the former chef claims that she “became dizzy, began choking and gasping for air, and required assistance from security personnel, who intervened by providing water and aid.”
Around Feb. 1, 2025, the then-chef, five months’ pregnant at the time, was assigned to work Jenner’s child’s birthday event in Palm Springs, where she wasn’t provided “adequate support” despite the scale and demands of the party, according to the lawsuit. The former chef claims that when she asked for help and expressed concern over the workload, she was ignored by supervisors.
“Due to exhaustion and overwhelming physical strain, [she] broke down emotionally in the bathroom during the event,” reads the suit. “That evening, [she] experienced extreme physical exhaustion and heaviness throughout her body as a result of the prolonged and intense workload.”
The next morning, while the former chef was still in Palm Springs, the filing states that she awoke experiencing severe hemorrhaging and drove herself to the emergency room. “At the hospital, [she] was informed that there was no detectable heartbeat and that she had lost her unborn child.”
According to the former chef, she informed her supervisors of the miscarriage and medical emergency and, in the following days, was “falsely accused of leaving the kitchen and refrigerator in disarray following the Palm Springs event,” the lawsuit states.
The court documents claim that the former chef suffered severe hemorrhaging again on Feb. 8 and collapsed in her bathroom. The filing states that after the miscarriage she suffered severe depression and emotional distress, and claims that a supervisor reprimanded her, saying, “Stop it, just stop it. You are upsetting Kylie. You are making her depressed.”
“Celebrity status does not exempt anyone from California’s employment laws. We look forward to presenting the evidence in court and allowing the facts to speak for themselves,” attorney Della Shaker told The Times.
The former chef is seeking an unspecified amount of damages and claims that in addition to suffering accommodation failures, pregnancy discrimination and harassment, she was misclassified as an independent contractor, did not get paid on time or for the appropriate hours she worked, and was wrongfully terminated.
After being let go, the former chef claims that she sent a formal written complaint to co-defendant Tri Star detailing the alleged discrimination, harassment and wage theft. The lawsuit states that on May 22, 2025, the management team sent her an email offering a settlement and release agreement (essentially offering her money to sign away her right to sue).
The legal filing follows two lawsuits brought by former housekeepers of the embattled reality star. Less than two weeks after one woman on Jenner’s cleaning staff sued her, claiming her co-workers harassed and discriminated against her, another housekeeper came forward with allegations claiming the “Keeping Up With the Kardashians” star didn’t intervene while she suffered abuse from fellow staff, despite the housekeeper slipping the reality star a letter pleading for help.
Shaker also represents Angelica Hernandez Vasquez, who filed the suit against Jenner on April 17, and Juana Delgado Soto, who filed her lawsuit on April 29.
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