Inside the club-like Sonora tent on the grounds of the Coachella Music and Arts Festival in Indio, Gary Tovar is inching closer to the stage. As ever, he’s snapping pictures on his phone, and shooting bits of video, to be shared online later.
Onstage on this opening weekend of the festival is the Los Angeles indie rock act Together Pangea, but for some astute music-lovers in the crowd, Tovar is as recognizable as anyone who will be on this stage. He’s the founder of Goldenvoice Productions, which launched Coachella in 1999, and was a crucial supporter of L.A.’s original punk rock concert scene in the 1980s.
Dressed in his usual plain white T-shirt, dark khaki shorts, with a blue bandana tied close to his throat, Tovar can barely get a few steps across the air-conditioned room before he’s greeted by another admirer. While Tovar no longer owns the company he founded in 1981, he remains its No. 1 fan, attending multiple concerts and club shows every week, sometimes two or three a night.
At Coachella, he is an especially active consumer of music, starting his day with breakfast in catering, and spending a full day going from stage to stage. He often travels in his own golf cart, but says he still gets 25,000 steps in a day. The heat, reaching above 100 degrees on opening weekend, does not slow him down.
“A lot of people stay in their era,” Tovar says of his ongoing music consumption. “There’s a lot of people complaining — they came here in 2009 — they still want MGMT, they want Yeah Yeah Yeahs, and they want time to stop. You have to be eternal. I don’t mean you’re gonna live forever. I mean, when the music moves, you move with it. You can’t pine for yesterday.”
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Gary Tovar backstage at Coachella’s artist compound with Joe Escalante of the Vandals, center, and Greg Hetson of the Circle Jerks.
(Allen J. Schaben / Los Angeles Times)
That said, he maintains a lot of affection for the punk era that launched Goldenvoice in the early 1980s. While other local punk rock promoters came and went, Goldenvoice became an essential champion of punk, metal, goth, industrial and other revolutionary sounds of the time. Tovar also flew in acts from overseas for their first L.A. area shows.
Tovar saw himself as a patron of the arts, putting the likes of Black Flag, the Dead Kennedys, Siouxsie and the Banshees and Jane’s Addiction onstage at the Olympic Auditorium, Santa Monica Civic, John Anson Ford Amphitheatre and Fender’s Ballroom.
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He survived where many others failed because he had the resources to follow his musical passions, even if the shows weren’t always profitable. The reason: Tovar was a marijuana smuggler, bringing contraband in from Colombia and then Thailand. He made millions, until a prison sentence took him away for seven years, and he handed the company over to his successors: Paul Tollett and the late Rick Van Santen.
While Coachella emerged during his time in prison for marijuana trafficking, the world-renowned festival is a lasting legacy of his nascent shows of the 1980s.
“This wouldn’t be here if it wasn’t for Gary,” says Circle Jerks singer Keith Morris, sitting in the band’s Coachella dressing room right after the band’s set. “It was more about him being a fan than it was about the business. He’s a total music freak.”
He was also a rock fan going back to the 1960s, as a teenager once seeing Jimi Hendrix perform in Maui. Tovar got his first taste of punk rock at the final Sex Pistols performance at San Francisco’s Winterland Ballroom in January 1978. While intrigued, Tovar didn’t imagine a place for himself in that world until his sister, an early fan of punk, mentioned that bands from the then-controversial genre were having trouble finding gigs to play.
Beginning with a TSOL show in Santa Barbara on Dec. 4, 1981, Tovar dove in, eventually focusing on Los Angeles.
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He named the company after a favorite strain of Thai marijuana. “They said when you smoked it, it was like the angels sang to you in a golden voice,” Tovar recalls with a smile.
For a logo, he turned to Black Flag bassist and SST Records co-founder Chuck Dukowski, who spelled out the Goldenvoice name in “Chinese”-style lettering left over from the cover art for the Minutemen’s “Paranoid Time” EP. (That same font is now used in the Coachella logo.)
By 1983, things took off quickly for Goldenvoice, but soon went off the rails with a riot at a TSOL and Social Distortion concert at the original SIR Studios on Sunset Boulevard. There was another riot at an Exploited show in Huntington Park. Tovar had another concert lined up for Wilmington headlined by the aggressively radical Dead Kennedys that he was calling “Storming the Docks,” if he could get police to sign off. Tovar met with the San Pedro Police, and he was asked, “What type of band is the Dead Kennedys?” Tovar says he looked up and saw an official portrait of President Reagan on the wall. “My mind clicked in. I said, ‘The Dead Kennedys are a tribute band to John and Robert Kennedy. Where do we sign?’”
That show also ended as a riot. “Oh, they got so mad,” Tovar says now. “I had to go in there with a little trickery, man.”
After his third consecutive riot, Tovar turned to the Olympic Auditorium, the impenetrable concrete bunker in downtown Los Angeles where he’d hosted Black Flag a year before. The venue, with a 5,000-person capacity just on the ground floor, was large enough to absorb any number of punks and others who wanted to attend, without leaving anyone outside to loiter or get in trouble.
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Tovar fully expected that initial wave of punk rock euphoria to fade within a couple of years, and it did. “Punk rock is like a shooting star. I knew it wasn’t going to last,” he says. “At the end of ‘85, it was showing cracks. Too much violence. Girls didn’t want to come.”
After two years at the Olympic, and as punk crowds began to diminish, he moved many of his shows to the smaller Fender’s in Long Beach, expanding to other venues in Southern California as needed.
The Circle Jerks perform at the Sonora Tent during the first weekend of Coachella 2025. Tovar was one of the first promoters in L.A. to champion the punk legends. “[Coachella] wouldn’t be here if it wasn’t for Gary,” says Circle Jerks singer Keith Morris. “It was more about him being a fan than it was about the business. He’s a total music freak.”
(Allen J. Schaben / Los Angeles Times)
As a leading proselytizer of punk and other alternative sounds, Tovar often partnered with promoters in other cities. It rarely meant a windfall for him. At one concert in Sacramento with the Ramones, he barely broke even. “I found a $20 bill in the parking lot,” he remembers. “That was my profit.”
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His money was largely made elsewhere. “One of my hands was in punk rock, championing underground music that was on the fringe,” he says. “And my other hand was smuggling quality marijuana. We went for the quality.”
If anything, the pot business was accelerating. His role was to sail the marijuana from Colombia and Thailand to the U.S. When the drug trade in Colombia shifted away from marijuana to cocaine, Tovar turned toward Thailand.
“I did not believe in cocaine because marijuana is done with a handshake, and cocaine is done with a gun. I’m not a violent person,” Tovar recalls. “All the smuggling I did was done with diversionary tactics. I’ve still never shot a gun. I’m trying to go all the way.”
When one of his associates was arrested, Tovar knew it was only a matter of time before federal drug agents came to him. It turned out to be years, giving Tovar time to train his proteges Tollett and Van Santen. On March 8, 1991, the feds arrived at his home and arrested him, and he remained in custody until after his trial and the end of his sentence.
Ironically, by the end of 1991, music had shifted in his direction. “Eight months after I went in, Nirvana, Pearl Jam and Chili Peppers broke,” he says. “I remember being in prison and saying, ‘Wow, I almost made it.’ It took a long time for enough people to come around.”
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He shows no bitterness about spending years in prison for selling something that is now widely and openly available across the state. While in prison in Nevada, he heard about the new festival Goldenvoice was going to host in the desert. Once he returned, he hasn’t missed a single edition of Coachella.
Tovar is now a consultant to Goldenvoice. (The company was eventually sold to AEG in 2001.) He was especially active in last year’s No Values festival, which celebrated generations of punk rock, with the Misfits, Social Distortion, Iggy Pop and dozens more. As an extremely active concertgoer, he has a more informed opinion than most.
Backstage before the Circle Jerks set on Coachella’s opening weekend, a lot of old friends and admirers greet Tovar warmly. Among them is booking agent Andy Somers, who frequently had bands playing Goldenvoice shows in the ‘80s, with a roster that included the Circle Jerks, GBH, Megadeth, the Exploited and Testament.
Somers still has fond memories of Goldenvoice during that early chaotic period. “It was so DIY and so disorganized, with heart in the right place,” Somers says. “That’s what made it work.”
Gary Tovar at the 2025 Coachella in Indio on April 13, 2025.
(Allen J. Schaben / Los Angeles Times)
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As he gets into a conversation with Tovar, the Goldenvoice founder reminds him that just securing a venue could be difficult at a time when punk was seen by many as the latest threat to society.
“We had to try to look for places to put these bands on,” Tovar says to Somers. “The Circle Jerks had a rowdy crowd. I mean, not anything abnormal. But punk rock back then, it had its exuberance.”
Somers smiles in agreement, and adds, “It was shocking. It scared the mainstream a little bit. You see a mosh pit and you watch it and go, ‘Is that supposed to be fun?’”
Also backstage is Rene Contreras, who books the Sonora stage (which was named by Tovar) and came into the Goldenvoice fold as a next-generation promoter who grew up a SoCal music fanatic. He was in his early 20s when he first met Tovar about 15 years ago, and knew him mainly as another fan he saw at shows everywhere.
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“When I didn’t have a car, he used to give me rides to shows,” Contreras says. “It took me a while to unravel his history and legacy that he had in music. He’s out every night. He’ll call me at least three times a week and we talk about shows that are happening, or sometimes he even fills me in: ‘Have you heard of this band?’”
A family and friends gather for a naming-day ceremony at a Danish seaside hotel, but an unexpected appearance by one uninvited attendee (Trine Dyrholm) ruptures the veil of bland, happy-clappy familial unity in director Mads Mengel’s gutsy, well-wrought debut feature, The Guest.
The most audacious move here may be Mengel and co-screenwriter Christian Bengtson’s choice to write something that will inevitably invite comparisons with Festen (The Celebration), arguably the most notorious Danish-language film of the last 30 years, which similarly revolved around a bougie gathering disrupted by angry revelations. But there’s a savvy 2026 vibe about the way the film refuses to create florid melodrama out of quotidian crisis, and instead observes with generosity as the characters grope awkwardly toward emotional détente and mutual forgiveness.
The Guest
The Bottom Line
When wetting the baby’s head goes too far.
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Venue: Karlovy Vary Film Festival Cast: Simon Bennebjerg, Trine Dyrholm, Josephine Park, Peter Gantzler, Petrine Agger, Mette Klakstein Wiberg, Kristine Kujath Thorp, Buster Lund Luscher Director: Mads Mengel Screenwriter: Christian Bengtson, Mads Mengel
1 hour 40 minutes
Festen-alumnus Dyrholm, having a bit of a career moment with outstanding performances both here and in the recent The Girl With the Needle among others, leads a uniformly excellent cast in a work that deserves celebration on the festival circuit and beyond.
Dyrholm’s Vibeke is technically the first person we meet, although she’s seen only in shadow at first as she smokes and drives while her unattached seatbelt, caught outside by a closed door, clatters on the road. This is the kind of unsafe driving her son Karl (Simon Bennebjerg) so deplores, a point of contention later on in the story when he will steal her car keys in interest of her own safety and that of others.
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But well before we get to that flashpoint, the film introduces Karl, effectively the film’s protagonist, as he arrives at the swanky resort with his wife Emilie (Mette Klakstein Wiberg) and their infant son Elliot (Buster Lund Luscher). The young family, who’ve chosen this new, secular tradition instead of a christening to welcome their child to the world, are there a day before the ceremony to meet up with core family members.
As this advance party settles down for dinner, a table that includes Karl’s sister Rikke (Josephine Park) and Emilie’s parents Frank (Peter Gantzler) and Kirsten (Petrine Agger), there’s a surprise: Vibeke is coming, courtesy of Rikke’s invitation. Karl is quietly furious and seems determined to turn her away, even when she shows up minutes later. Poor Frank and Kirsten look on confused, determinedly polite in their insistence that all family members should be welcome.
Bengtson and Mengel’s economical script carefully dripfeeds backstory as the film unfolds to explain that Karl hasn’t spoken to his mother in years, that Rikke has taken over all the daily mom management and that she’s very worn out by it. Even so, she insists Vibeke is regularly taking her medication and isn’t a problem these days, although to Karl every weird anecdote and moment of emotional intensity is an augur of impending chaos. Rikke counters that their mother is just “big, that’s her personality not her condition.”
Interestingly, that specific condition is never named throughout, although armchair diagnosticians might spot many of the signs of bipolar disorder. But the film’s emotional focus on the person and her actions rather than the label is also very contemporary, reflecting a more holistic, inclusive mindset and approach to dealing with mental health issues.
Which is all fine and dandy, until Vibeke duly does skip a dosage and starts getting manic. One of the first signs of chemical imbalance arrives during the ceremony on the beach, when Vibeke carries little Elliot much further away from the shore than anyone wants, creating a panic. From there it just gets worse as Vibeke picks up on the censorious feeling emerging from the other party guests, who had found her so charming the night before when she’d led everyone to the casino to play roulette and diverted a bunch of partying teenagers from the room next to Karl and Emilie so they could get some sleep. When the toasts at the formal dinner begin, Vibeke’s mood darkens much further, and if we’ve all learned one thing from Festen, it’s be very afraid when a Dane gets up to make a toast.
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Cinematographer David Bauer’s nimble-footed lensing and use of natural light does indeed hark back considerably to the look of those Dogme 95 movies back in the day, as does the naturalistic editing style deployed by Louis Emil Ramm Seeberg. But there are plenty of sins against the rules of cinematic chastity that marked that movement, such as the ample space made for Lasse Aagaard’s affecting, low-key score that amps up the anxiety as Vibeke starts to spiral.
That said, Mengel keeps things simple in sonic terms when it really counts, letting the musicality of Dyrholm’s deep, sonorous voice ring out on its own in the big monologue scenes. She is, as ever, utterly mesmerizing but the performance is made even more powerful by the muted, expressive reactions of the rest of the cast as they look on, frozen like deer in the headlights of the car crash of pseudo-christening. Moments of levity puncture the gloom, but the final feeling is one of numbed sorrow and pity for all these kind, fallible people, just trying to do their best.
Rhea Seehorn was nervous about whether “Pluribus” would be recognized by Emmy voters Wednesday when nominations were announced. So she was jubilant when she and the surreal sci-series on Apple TV scored 18 nominations, the most for a first-year drama.
“I’m just so grateful,” the actor said in a phone interview. “People were like, ‘Why were you nervous?’ Honestly, you never actually know. I’m just so thrilled for the show, my co-stars, the production design, the editing, the writing, the music, the sound. I haven’t moved from my couch since they first announced everything because I’m still trying to call everybody on the show.”
Seehorn received a nomination for lead actress in a drama series for her portrayal of cynical Carol Sturka, a fantasy romance author who finds herself in a mystifying situation after a virus seems to have wiped out most of Earth’s population. The series was created by Vince Gilligan, who created the acclaimed series “Breaking Bad” and co-created its spinoff “Better Call Saul,” which also featured Seehorn.
The actor compared her experience of being nominated for “Pluribus” to “Better Call Saul,” which earned her two supporting actress nominations: “ ‘Better Call Saul’ was such a family that supported and cheered each other on, and I’m so grateful I have that environment again. People could not be happier for each other, and we get to celebrate the show together.”
She added, “The only part that feels different is that it’s my first nomination as a lead. It’s the process of Vince writing this for me and seeing the mountain which he wanted me to climb and going through that process. The whole thing has been its own journey, so ending up with awards and nominations, and being so well received by critics and fans is not lost on me.”
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The series has been applauded for its mix of drama, comedy and strangeness in its portrait of a woman coming to terms to what seems like an impossible dilemma.
“I love the storytelling, how much Vince and I would drill down on making this as authentic as we could in terms of an everyman who has to deal with an insane situation,” Seehorn said. “Most of us are just not heroic or leaping off the couch to go save the world. And Carol is dealing with immense grief and confusion in an utter dystopian crisis. I love the humor and the drama that comes out of us being as realistic as we can with her amidst an unrealistic event.”
Fans of “Pluribus” have been relentlessly curious since the finale in December about when the second season will launch.
“I don’t know anything about that,” Seehorn said. “I don’t have to keep secrets because I’m not great at keeping them, and I know nothing. I don’t know what I’m doing with an atom bomb in the driveway. I can’t wait to find out. The writers want to have the same quality and reward the intelligence of the fans and never phone a single thing in. So their process is their process.”
In a roundabout way, the fact that I don’t have a strong attachment to The Wizard of Oz as a film (my late mother loved it, so that memory is deeply rooted in me, but the movie itself never did much for me) contributed directly to how amusing I found Gail Daughtry and the Celebrity Sex Pass to be. This comedy spoofs the plot of the classic fantasy movie, though the jokes are largely about Hollywood. The humor is big and broad, with some of the jokes really landing. Others? Not so much. Still, more than enough do to warrant a recommendation.
Gail Daughtry and the Celebrity Sex Pass gets a lot of mileage out of sending up show business, even if the observations, while funny, are not particularly new. Besides the deluge of jokes, there’s also a lot of likably broad characters to spend time with, especially our lead. They make the 90 minutes and change spent together with them go down very easy.
Sony Pictures Classics
For Gail Daughtry (Zoey Deutch), her life as a small town hairdresser is perfect. Engaged to her high school sweetheart Tom (Michael Cassidy), she’s the picture of happiness, at least until a trip to a celebrity book signing. There, Tom meets and ends up sleeping with his “celebrity pass,” a term Gail wasn’t even really previously aware of. Feeling betrayed, Gail impulsively joins her co-worker and friend Otto (Miles Gutierrez-Riley) on a trip to Los Angeles. There, a psychic convinces her that the can save her marriage by sleeping with her own celebrity pass: Jon Hamm (Jon Hamm).
Journeying through Tinseltown in a manner that recalls Dorothy’s adventure in Oz, Gail and Otto won’t have to find Hamm alone. Joining forces with talent agency assistant Caleb (Ben Wang), down on his luck paparazzo Vincent (Ken Marino), and actor John Slattery (John Slattery). As they search for Hamm, some for their own purposes, they meet other celebrities, while also being hunted by a group of Italian assassins after a case of mistaken identity. Eventually, they come across Hamm, and the moment of truth is at hand.
Sony Pictures Classics
Zoey Deutch dives headfirst into a broad comedy like this, absolutely relishing the opportunity to get silly again. She’s able to make Gail a babe in the woods but also someone you laugh with, not at. It’s a wildly enjoyable turn. Deutch started out in comedies and was always a talented comedic actress, so it’s a pleasure to watch her back at it. Miles Gutierrez-Riley and Ben Wang get some very funny moments, while Ken Marino is a reliable comic presence. Jon Hamm and John Slattery are delighted to be sending up themselves, with amusing results. Supporting players here, in addition to Michael Cassidy, also include Kerri Kenney, Richard Kind, Thomas Lennon, Joe Lo Truglio, Fred Melamed, and more, plus some cameos.
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Filmmaker David Wain, again co-writing with Ken Marino, continues to make it look easy. Few can make a silly comedy like Marino and Wain, especially as they pack their flicks with extra bits that only subsequent viewings reveal. Is Gail Daughtry and the Celebrity Sex Pass on the same level as Wet Hot American Summer or They Came Together? No, not quite. At the same time, is this, scattershot approach and all, funnier than most other 2026 releases? You bet. Marino and Wain have a hit rate that allows some of the jokes to miss, as you only have seconds to wait before the next one, which probably will hit.
Gail Daughtry and the Celebrity Sex Pass is very amusing, and occasionally hilarious, even if not as many jokes land as you might expect. Zoey Deutch is great in the lead role, David Wain is in his comfort zone, and the laughs come hot and heavy. If you’re a Wain fan, this new movie should be a must see.
Sony Pictures Classics
Sony Pictures Classics
