It was a night of literary excellence at the 45th Los Angeles Times Book Prizes ceremony Friday night at USC’s Bovard Auditorium.
As winners in 12 competitive categories and three special prizes took the stage, many addressed the fraught political climate in the U.S. as well as L.A. rebuilding after January’s devastating firestorms.
Writers also addressed the dire need to use their voice to reflect the present moment — from poetry winner Remica Bingham-Risher contemplating the abuse her grandmothers endured (in another time and place, their narrative would have been hers, she said), to current interest winner Jesse Katz urging the audience to recognize the individuality of often-stigmatized MacArthur Park residents.
Pico Iyer — who has written 15 books translated into 23 languages — accepted the Robert Kirsch Award for lifetime achievement, which honors a writer with a substantial connection to the American West. The author’s latest novel, “Aflame: Learning From Silence,” recounts his mother’s home in Santa Monica burning during a wildfire in 1990. The book was published on Jan. 14, in the immediate aftermath of the Palisades and Eaton fires.
“I know that many people in this room have been through tremendous losses in the last few months,” he said sharing that he lost handwritten drafts for three books in progress in the 1990 fire. “What initially presented itself mostly as loss began to open doors … and make possible many things that might have never happened otherwise. I really hope that might be the case for some of you.”
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“Writing still seems the deepest way of inhabiting another soul and the very best way, therefore, of rescuing us from black and white,” he added.
Investigative journalist Emily Witt accepted the Christopher Isherwood Prize for Autobiographical Prose for her memoir “Health and Safety: A Breakdown,” about her exploration of New York’s nightlife scene.
In her acceptance speech, Witt cited Isherwood’s writing about pre-WWII Berlin as a major influence. Like his milieu, she said the characters of her memoir, which takes place in Brooklyn from 2016 to 2020, lived in acute awareness of the “ideological bankruptcy” of their time.
Celebrated L.A.-born poet Amanda Gorman accepted the Innovator’s Award for bringing “books, publishing and storytelling into the future.”
Amanda Gorman received the Innovator’s Award at the L.A. Time Book Prizes.
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(Varon Panganiban)
“Love is no silent harbor, no haven,” Gorman recited. “Still, it is the roaring thing that tugs away from the very shores we clutch. There is no better compass than this compassion.”
Iyer and Gorman will speak Saturday at the Festival of Books about their respective books.
The biography prize went to Laura Beers for “Orwell’s Ghosts: Wisdom and Warnings for the Twenty-First Century.” The book, written on the 75th anniversary of “1984,” explores George Orwell’s prescient and radical teachings. Beers, who was surprised by the win, said the world “seems to become slightly more Orwellian with each passing day.”
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Journalist Rebecca Boyle won the science and technology award for “Our Moon: How Earth’s Celestial Companion Transformed the Planet, Guided Evolution, and Made Us Who We Are,” which traces the moon’s role in our biological and cultural evolution.
“The moon, my subject, does remind us that there are cycles,” she said while accepting the prize. “Inherent in the meaning of a cycle or a phase is a return. Things go away and they come back. Fascism went away and now is back. Authoritarianism went away, we thought, and now it is back. But there’s a flip side to that. Every phase that leaves brings something new. There’s also hope and renewal. And I think part of our job — the most important job we have as writers — is to remind us of the positive phases, the return of good, the return of new cycles and hope.”
In her closing remarks, she quoted Pope Francis, whose funeral is tomorrow: “Hope is a gift and a task.”
Kim Johnson, whose “The Color of a Lie” won the award for young-adult literature, said she set her book, about a white-passing Black teen, in 1955 Levittown, Penn., after her first novel was banned in Bucks County, where Levittown is located.
“Writers write in a lot of spaces where we’re doing resistance,” she said. “I’m thinking about reckoning, trying to untangle the roots of racism and systemic factors in this country that are so embedded and baked in our society.”
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Achievement in audiobook production went to Dominic Hoffman (narrator) and Linda Korn (producer) for “James: A Novel.” Presented in collaboration with Audible, the award — the ceremony’s newest — honors performance, production and innovation in storytelling.
Jiaming Tang took home the Art Seidenbaum Award for First Fiction for “Cinema Love.” The decades-spanning epic follows gay Chinese immigrants. The novel also has won the Edmund White Award for Debut Fiction and the Ferro-Grumley Award for LGBTQ+ Fiction.
Jesse Katz’s “The Rent Collectors: Exploitation, Murder, and Redemption in Immigrant L.A.” won the award for current interest. The book explores the exploitation of undocumented Angelenos by both gang overlords and local law enforcement.
The fiction award went to Jennine Capó Crucet for “Say Hello to My Little Friend.” Brimming with dark humor, the novel follows a failed Pitbull impersonator’s encounter with a captive orca at the Miami Seaquarium.
Danielle Trussoni’s “The Puzzle Box” received the award for mystery/thriller. The second of Trussoni’s Mike Brink series, the book follows a puzzle master invited to Tokyo to try his hand opening the legendary Dragon Box, which contains a priceless Imperial secret.
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The ceremony, which opened with remarks by Times Executive Editor Terry Tang and was emceed by Times columnist LZ Granderson (who also provided updates from the Lakers playoff game), serves as a kickoff to this weekend’s Festival of Books.
“In a world that is now feeling so confusing and distressed, this weekend gives all of us a chance to find a sense of unity, purpose and support,” Tang said.
The 30th annual celebration brings more than 550 storytellers to the USC campus across seven outdoor stages and 15 indoor venues. While some panels are ticketed, general admission to the festival is free.
Saturday’s events include conversations and panels with Amor Towles, Jay Ellis, Claire Hoffman, Stacey Abrams, Joanna “JoJo” Levesque, Griffin Dunne, E.A. Hanks, Rebecca Yarros, Amanda Knox, Rachel Kushner, Krysten Ritter, Max Greenfield and “Giggly Squad” podcast hosts Hannah Berner and Paige DeSorbo, as well as a cooking demo from Roy Choi, a reading by Alison C. Rollins and a performance by singer Aspen Jacobsen.
Sunday’s authors and entertainers include Percival Everett, Jenny Slate, Steve Wasserman, Maureen Dowd, Wilmer Valderrama, Jon M. Chu, Rachel Lindsay, Chelsea Handler, Jennifer Haigh, Gretchen Whitmer, Attica Locke, Janelle Brown, Kristen Ciccarelli and Mike Campbell. A special screening of PBS series “Miss Austen” and an appearance by children’s entertainer Blippi are also among the highlights.
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Here’s the full list of finalists and winners for the Book Prizes.
Robert Kirsch Award
Pico Iyer, “Aflame: Learning From Silence”
The Christopher Isherwood Prize for Autobiographical Prose
Emily Witt, “Health and Safety: A Breakdown”
Innovator’s Award
Amanda Gorman
The Art Seidenbaum Award for First Fiction
Jiaming Tang, “Cinema Love: A Novel”
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Pemi Aguda, “Ghostroots: Stories”
Joseph Earl Thomas, “God Bless You, Otis Spunkmeyer: A Novel”
Jessica Elisheva Emerson, “Olive Days: A Novel”
Julian Zabalbeascoa, “What We Tried to Bury Grows Here”
Achievement in Audiobook Production, presented by Audible
Matt Bomer (narrator), Kelly Gildea (director, co-producer), Lauren Klein (producer); “Giovanni’s Room: A Novel”
Narrators: Andrew Garfield, Cynthia Erivo, Andrew Scott, Tom Hardy, Chukwudi Iwuji, Romesh Ranganathan, Natasia Demetriou, Francesca Mills, Alex Lawther, Katie Leung; Producers: Chris Jones, Mariele Runacre-Temple, Robin Morgan-Bentley, Nathan Freeman; “George Orwell’s 1984: An Audible Original adaptation”
Dominic Hoffman (narrator), Linda Korn (producer); “James: A Novel”
Michele Norris With a Full Cast (narrator), Mike Noble (producer); “Our Hidden Conversations: What Americans Really Think About Race and Identity”
Biography
Laura Beers, “Orwell’s Ghosts: Wisdom and Warnings for the Twenty-First Century”
Kunal Nayyar in ‘Christmas Karma’
| Photo Credit: True Bit Entertainment/YouTube
Christmas jumpers are all I can remember of this film. As this reimagining of Charles Dickens’ A Christmas Carol dragged on with sickly-sweet sentimentality and song, my eyes constantly tried to work out whether those snowflakes and reindeer were printed on the jerseys or, if knitted, how complicated the patterns would have been.
Christmas Karma (English)
Director: Gurinder Chadha
Starring: Kunal Nayyar, Leo Suter, Charithra Chandran, Pixie Lott, Danny Dyer, Boy George, Hugh Bonneville, Billy Porter, Eva Longoria, Mia Lomer
Storyline: A miserly businessman learns the true meaning of Christmas when visited by ghosts of Christmas past, present and future
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Runtime: 114 minutes
Gurinder Chadha, who gave us the gorgeous Bend it Like Beckham (who wants to make aloo gobi when you can bend the ball like Beckham indeed) has served up an unappetising Bollywood song-and-dance version of Dickens’ famous Christmas story.
A still from the film
| Photo Credit:
True Bit Entertainment/YouTube
A curmudgeonly Indian businessman, Ishaan Sood (Kunal Nayyar), fires his entire staff on Christmas Eve—except his accountant, Bob (Leo Suter)—after catching them partying at the office. Sood’s nephew, Raj (Shubham Saraf) invites him for a Christmas party which he refuses to attend.
He returns home after yelling at some carol singers for making a noise, the shopkeeper (Nitin Ganatra) at the corner for his business decisions and a cabbie (Danny Dyer) for being too cheerful.
His cook-housekeeper, Mrs. Joshi (Shobu Kapoor) tells him to enjoy his dinner in the dark as he has not paid for heat or electricity. He is visited by the spirit of his dead business partner, Marley (Hugh Bonneville), who is in chains with the spirits of all the people he wronged. Marley’s spirit tells Sood that he will be visited by three spirits who will reveal important life lessons.
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A still from the film
| Photo Credit:
True Bit Entertainment/YouTube
The Ghost of Christmas Past (Eva Longoria), with Day of the Dead makeup and three mariachis providing musical accompaniment, shows Sood his early, happy days in Uganda as a child and the trauma of being expelled from the country by Idi Amin.
Sood comes to Britain where his father dies of heartbreak and decides the only way out is to earn a lot of money. He meets and falls in love with Bea (Charithra Chandran) but loses her when he chooses paisa over pyaar even though he tries to tell her he is being ruthless only to earn enough to keep her in luxury.
The Ghost of Christmas Present (Billy Porter) shows Bob’s twee house full of Christmas cheer, despite the roast chicken past its sell-by date, and his young son, Tim, bravely smiling despite his illness.
The Ghost of Christmas Future (Boy George, Karma is sure a chameleon!) shows Sood dying alone except for Bob and Mrs. Joshi. He sees the error of his ways and throws much money around as he makes everything alright. He even ends up meeting up with his childhood friend in Uganda.
Apart from the mixed messages (money makes everything alright, let us pray for the NHS but go to Switzerland to get well) and schmaltzy songs, Christmas Karma suffers from weak writing and wooden acting.
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Priyanka Chopra’s Hindi rendition of George Michael’s ‘Last Christmas’ runs over the end credits featuring Chadha and the crew, bringing back fond memories of Bina Mistry’s ‘Hot Hot Hot’ from Bend it Like Beckham. Even a sitar version by Anoushka Shankar is to no avail as watching this version of A Christmas Carol ensures bad karma in spades.
President Trump wants a very different kind of CNN if the cable news channel’s parent Warner Bros. Discovery changes hands.
As details emerge on the battle between Netflix and Paramount over control of the historic movie studio and its streaming and TV assets, Trump acknowledged he’s made it clear he wants new ownership and leadership at the network that has been the prime target in his attacks on the mainstream media over the last decade.
“I think the people that have run CNN for the last long period of time are a disgrace,” Trump told reporters Wednesday. “I don’t think they should be entrusted with running CNN any longer. So I think any deal should — it should be guaranteed and certain that CNN is part of it or sold separately.”
White House Press Secretary Karoline Leavitt echoed Trump’s sentiment Thursday from her lectern after a testy exchange with CNN anchor Kaitlan Collins. “Their ratings have declined, and I think the president rightfully believes that network would benefit from new ownership with respect to this deal,” Leavitt said.
Trump has said he will be “involved” in the government‘s regulatory review of a WBD deal. Injecting the president’s animus toward CNN — which goes back to his presidential campaign in 2016 — into the process has insiders at the network worried that journalistic independence will be sacrificed for the sake of a Warner Bros. Discovery deal.
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CNN declined to comment.
A Wall Street Journal report said Paramount Chief Executive David Ellison has signaled to Trump administration officials he would make “sweeping changes” to CNN if his company took control. (A representative for Ellison declined comment.)
Ellison has said he would combine CNN’s newsgathering operations with Paramount’s CBS News, where conservative-friendly Bari Weiss has been installed as editor in chief. Such a move would follow the $16-million settlement Paramount reached with Trump earlier this year resolving a dispute over a “60 Minutes” interview featuring then-Vice President Kamala Harris.
But Trump said he wants to see a new CNN owner even if Netflix prevails. Netflix’s $72 billion offer does not include CNN or WBD’s other basic cable properties. Paramount has countered with a $78 billion offer.
What Trump desires is more favorable news coverage. But pandering to the White House could have a dubious outcome from a business standpoint for the next CNN owner.
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The cable news landscape has evolved over the last decade as the country’s politics have become more polarized and tribal.
The trend helped the conservative-leaning Fox News and progressive MS NOW (formerly MSNBC), both of which have seen their audiences grow over that time even as the number of pay-TV homes has declined dramatically.
CNN has tried to stake out the middle ground, although its aggressive coverage of Trump’s first term created a perception it had moved left, especially as more commentary was added to its prime time programs.
CNN already saw the impact of attempting to bring more right-leaning voices to its program under Chris Licht, the executive brought in to run the network in 2022. He was under a mandate from Warner Bros. Discovery Chief Executive David Zaslav, who publicly said the network needed to appeal more to conservative audiences.
The network experienced an immediate exodus of viewers, putting it in third place behind MS NOW. CNN was generating $1.2 billion in profit earlier in the decade. This year, the figure is expected to be in the range of $675 million.
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Jon Klein, a digital entrepreneur and former CNN president, said it would be folly for his former network to blatantly court conservatives again.
“You’re not going to convince all those Fox News viewers that suddenly CNN is friendly to them and their way of life,” he said. “These are much older viewers who don’t change their habits so easily. There has been mistrust that has been fostered over many years.”
Klein noted that even upstart right-wing networks that provide unwavering support of Trump — Newsmax and OAN — haven’t made a dent in Fox News’ dominance. MS NOW would be the beneficiary of any rightward shift by CNN, he added.
“It would accelerate the ratings slide and they become completely irrelevant,” said another former CNN executive who did not want to comment publicly.
Fox News does more than provide largely sympathetic coverage and commentary for Trump. Rupert Murdoch’s network has worked at forging a deep connection with viewers, which has made it the ratings leader since 2002.
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The lineup of highly paid Fox News personalities is reliably in sync with the audience’s values and the hot-button issues that keep them tuned in. Viewer loyalty has helped the network attract hundreds of new advertisers in recent years, with some integrating patriotic messages into their marketing efforts.
“Fox is an incredibly well-oiled machine,” Klein said.
Klein said CNN and other legacy news organizations are better off focusing on developing an effective digital strategy to insure their future as traditional TV viewing declines, instead of chasing ideological balance.
Attempting to satisfy Trump’s desire for more positive coverage is a slippery slope. While Paramount appointed an ombudsman to CBS News and brought in Weiss — moves aimed at clearing the regulatory path for its merger with Skydance Media — Trump is still lashing out at coverage he doesn’t like.
After a “60 Minutes” interview with Rep. Marjorie Taylor Greene (R-Ga.) aired Dec. 7, in which she was highly critical of Trump, the president said the program is “worse” under new ownership.
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The only significant move to attract conservative viewers under Weiss is her prime time interview with the widow of slain right-wing activist Charlie Kirk that airs Saturday.
“I think the prevailing wisdom over there is this notion that at least if they stay out of the clutches of Paramount, some rich philanthropist will buy them and they’ll be fine,” said the former CNN executive.
But if Netflix gets WBD without CNN, there is no guarantee it would not end up with a Trump-friendly owner if the network were spun off separately. The rank and file may wish for Laurene Powell Jobs, chair of the Atlantic, but could end up with a deep-pocketed right winger.
CNN Chairman Mark Thompson’s message to the troops is keep calm and carry on. “I know this strategic review has been a period of inevitable uncertainty across CNN and indeed the whole of WBD,” Thompson told staff in a recent memo. “Of course, I can’t promise you that the media attention and noise around the sale of our parent will die down overnight. But I do think the path to the successful transformation of this great news enterprise remains open.”
Trump’s anger toward CNN has become more personal as time has gone on. He has insulted reporters during press briefings and reportedly has told people he wants to see the firing of anchors Erin Burnett and Brianna Keilar.
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Oddly enough, it was Burnett’s journalism that provided Trump with video for his most effective commercial of his 2024 campaign.
Burnett conducted the 2020 interview with Kamala Harris where the former vice president expressed her support for providing medical care to prisoners undergoing gender-affirming care. A clip of the segment was used in the commercial that said “Kamala’s for they/them, President Trump is for you.”
An orphaned girl hires her hitman next-door neighbor to kill the monster under her bed. This R-rated action/horror movie mashup has lots of violence but surprisingly little gore. However, there are still many gruesome moments, even if they’re just offscreen. And some language and a strange portrayal of Christian worship come up, too.