Josh Homme sips a Modelo the other night as he sits amid the vibey greenery behind Brain Dead Studios on Fairfax Avenue. Inside the movie theater, a small crowd including several of Homme’s friends and family members is watching “Alive in the Catacombs,” a black-and-white short film that documents an acoustic gig Homme’s rock band, Queens of the Stone Age, played last July in the Paris Catacombs, where the remains of an estimated 6 million people are stored beneath the streets of the French capital. Back here on the patio, the 52-year-old singer and guitarist is musing about how audiences are likely to react.

“I’m so proud of the film because it’s either ‘I hate it’ or ‘Holy s—, that was intense,’” he says. “It’s nothing in between.”

The inspiration for “Alive in the Catacombs,” which comes accompanied by a behind-the-scenes documentary (and a five-song EP due Friday), stretches back two decades to a trip to Paris when a long line stymied Homme’s attempt to visit the historical site. Yet he sees a certain poetry in the fact that the show — with radically stripped-down renditions of tunes like “Villains of Circumstance” and “Suture Up Your Future” — came together only as he found himself in a health crisis that forced Queens to postpone the remaining dates of its 2024 tour. With Homme having recovered from cancer, the band will return to the road this week for its first shows in nearly a year.

How arduous was it to convince the Parisian officials to let you shoot in the catacombs?
It was a f— nightmare. There’s a national attitude that’s pervasive in France where you ask a question and the first reaction is, “Ask him over there.” The runaround, as we would call it. We received the runaround for many years.

Are you attracted to spooky spots in general?
I love when music is scary. I recall hearing the Doors as a young boy and being like, “Whoa.” And they’re so consistently terrifying — I’ve always been obsessed with that. My vision of Queens, when it’s perfect, is: There’s a hill with the sun behind it, and this crippled army of minstrels comes over the horizon. The townspeople go, “S—, grab the kids.” When we sound like that, we’re at our best.

What’s a place in L.A. that might be comparable to the catacombs?
There are some Steinbeck-y hobo hotels. And in the right light the Hollywood Forever cemetery has a certain ominous beauty. But that feels too simple. I grew up working on a tree farm, and there’s something about the uniformity of a tree farm that I find terrifying. Further out, the oil fields of Kern County are like dinosaur relics — scabs on the surface of the earth.

Seems reasonable to ask why someone in such perilous physical shape would want to spend time in a place defined by death.
Having worked on this for the better part of 20 years, the chances that when it finally occurs, I would be dealing with the very issue that is why it exists — I mean, the chances are almost zero. That plays into my romantic side, and I don’t see the value in running hypotheticals about why it’s happening. I’d rather hold it close and say, “I’m supposed to be here,” accept that and feel empowered by it. There were a lot of people who love me that were saying I shouldn’t do this. And I respect that. But it does ignore the point — like, how many signs do you need?

I saw the behind-the-scenes film —
I watched it once, and I can never watch it again. I see how medicated I was. I know that vulnerable is the way to go, but I don’t do a lot of sorting through things in hindsight — it makes me uncomfortable. I’m uncomfortable with the documentary.

Why put it out?
Because that’s what this is. I was uncomfortable in the catacombs too.

You don’t play guitar in the movie. Did it feel natural for you to sing without holding one?
It didn’t in earlier years, but now it’s as natural as anything else. I’m sort of slowly falling out of love with the guitar. I’ll just use any instrument. I don’t play them all well, but it doesn’t really matter — it’s whatever will get the idea across.

Who were some of your models for the kind of singing you’re doing?
I’ve always loved [Jim] Morrison and his poetry. Sometimes the music isn’t great in the Doors, but it’s all in support of someone that I do believe is a true poet. The words are the strongest part of that band.

Your crooning made me want to hear you do an album of standards.
I was talking about this with my old man today. He’s like, “You’re not gonna retire,” and I was like, “Oh, yes, I am — I’m going to Melvyn’s in Palm Springs to be like [sings], ‘Fly me to the moon…’”

You grew up in Palm Desert. This might be an underappreciated aspect of your lineage.
KDES 104.7, baby. The DJ would be like, “Are you by the pool? Well, you should be.” Very Robert Evans.

Are there Queens songs you knew wouldn’t work in the catacombs?
We didn’t think of it that way. The people in there, they didn’t choose to be there, so what would they want to hear? I chose things about family, acceptance, the difficulties in life and the way you feel the moment they’re revealed — and the way you feel the moment they’re over. My first thought was: How do I emotionally get on my knees and do the very best I can to present something that these people have been longing for? It felt very religious.

Do you believe in God?
I believe in God, but God is everything I can’t understand.

Do you think there’s an afterlife?
I believe there’s a return to something. Is it like, “Oh my God, Rodney Dangerfield!”? That’s not what I believe. But the energy that keeps you and I alive, it can’t simply disappear. You must just go home to the big ball somewhere.

Queens of the Stone Age: Michael Shuman, from left, Troy Van Leeuwen, Josh Homme, Dean Fertita and Jon Theodore.

(Andreas Neumann)

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Last time you and I spoke, you told me you you’d learned to pursue your art with less of the reckless abandon of your youth. I wondered how that figured into your decision to call off shows last year after Paris.
By the time we walked down the steps into the catacombs, we all knew in the band that it was over. The morning we were supposed to play Venice [a few days before the Paris gig], I just couldn’t take it anymore, so I was like, “Take me to the hospital.” But I realized there was nothing that could happen for me there. I said, “Bathroom?” and I had them pull the car up and we left.

Does that seem irresponsible in retrospect?
No, because they didn’t know what was going on and they didn’t have the ability to know. I was like, “I made a mistake — I should have just kept going.” We went to the next show in Milan because Paris was so close. You work on something for all these years, and now you can almost see it. You’re gonna turn around because it’s hard? You can’t go two more hours? My old man says, “Quitting on yourself is hardest the first time, and it’s easy every time after that.”

Whoa.
Is that wrong? That’s the guy that brought me up, and he’s proud to be here tonight. So did I make a mistake or not? I’m not sure what I would have done if I’d walked away.

You’ve been reluctant to get too specific about your illness.
It doesn’t matter. Who cares? It was hard and it was dangerous. Big f— deal.

Queens is about to get back onstage.
We’re gonna finish what we started. I thought I was gonna be out of commission for 18 months or two years — that’s what I was told.

How’d you take that?
I wasn’t looking for high-fives. But it ended up being seven months. I’ve changed so many things, and I feel so good.

Are you writing songs?
Lots. The great part about these physically or mentally dangerous situations is that now I feel super-alive and ready to go. I spent a lot of months bedridden, and now that I’m not, I’m very much like a rodeo bull. Not the rider — the bull. When you open that gate, I will destroy.

Kevin Bacon and Kyra Sedgwick bring their vivid screen presence and expert timing to The Best You Can, elevating this low-key, Tribeca-premiering dramedy. With strong performances and a fresh premise about an unexpected friendship in middle age, but far too many creaky comic tropes, the uneven film is always watchable but never pops off the screen in a gripping way.

It’s the second feature written and directed by Michael J. Weithorn, a co-creator of The King of Queens and a veteran writer on other sitcoms. It’s simply descriptive and not a disparagement to say that with its often strained plot and quick-hit sitcom timing, the film is most likely to appeal to an undemanding audience and an older demographic.

Sedgwick plays Cynthia, whose brilliant husband, Warren (Judd Hirsch, reliably on point), once on the staff of the Watergate committee, is now 83 and sliding into dementia. At the start she appears overly chatty and hyper, a character trying too hard for comic effect — especially when she first meets Stan, a security guard.

Bacon slides easily into the role of Stan, but his character is also introduced as a comic cliché. In the most blatant of the sitcom-style tropes, Stan has a prostate problem and while patrolling neighborhoods at night uses shrubbery as a makeshift urinal. When the alarm in Cynthia’s house goes off and calls him to the scene, he urgently asks to use her bathroom — and what a coincidence, she is the perfect person to treat his problem, as she announces with fluttery, over-the-top enthusiasm.  

The forced comedy calms down a bit when they also begin a friendship, often through text messages, which the actors deliver in voiceover. Cynthia tells Stan about grappling with her husband’s situation, and he confides in her about his fraught relationship with his daughter, Sammi (Brittany O’Grady), a struggling singer-songwriter who lacks confidence. The text technique works more gracefully than in most films, but again lame stabs at humor intrude. As they get to know each other, Cynthia asks if Stan is in touch with his ex-wife, and he texts back, “Only by voodoo doll.” Yikes.

As the friendship between Stan and Cynthia develops, it has some touching moments. Sedgwick lets us see how much Cynthia still loves and is devoted to her husband, and also how lonely his condition has made her. And Bacon is so vibrant as the intelligent, sharp-witted Stan that he makes you wish Weithorn’s screenplay had done more to fill in the character’s backstory. How did this guy turn out to be such an underachiever and such an awkward father?

Wisely, the film acknowledges but doesn’t overplay the inevitable romantic overtones the friendship takes on. And Bacon and Sedgwick never let their status as a well-known married couple in real life intrude on their character’s delicate, tentative relationship. Each gets a long, emotional monologue near the end that they deliver with smooth naturalism. It’s easy to imagine how much more pedestrian the film would have been with lesser actors in those roles.

Weithorn gets strong performances from the supporting cast, notably O’Grady, whose brief musical scenes as Sammi are solid additions to the film. The father-daughter relationship may be the film’s most believable, as we see that Stan means well and tries to encourage her but says all the wrong things.

Olivia Luccardi plays Stan’s younger sometime-hookup, whose sexting with him is played for some effective laughs. Ray Romano appears in a brief cameo in a video call as a doctor friend of Cynthia’s who advises her on Warren’s condition. And Meera Rohit Kumbhani, as Warren’s caregiver, has one of the film’s stronger more unexpected twists when it turns out she has recorded the memories he is still able to recapture.

If only the film had risen to that level of surprise and emotional poignancy more often, with more of the wistfulness that comes to infuse Cynthia and Stan’s friendship and with humor that was less eye-rolling.  

Can someone explain to me what, exactly, Dr. Phil has to do with immigration policy or constitutional law in these United States?

Many outrageous and unsettling things happened in Los Angeles over the weekend. On Friday, multiple immigration raids, in downtown’s Fashion District and outside a Home Depot in Paramount, sparked a not unusual response that led to police involvement, during which many, including union official David Huerta, were arrested.

Ostensibly dissatisfied with the handling of the situation, President Trump, over objections from both L.A. Mayor Karen Bass and California Gov. Gavin Newsom, made the highly unusual — and potentially illegal — decision to send in the National Guard. Tensions escalated and by Sunday, portions of L.A. freeways were shut down as some protesters and/or outside agitators vandalized downtown stores, defaced buildings, hurled rocks from downtown overpasses onto law enforcement vehicles and set fire to a few Waymo cars. Trump’s border advisor, Tom Homan, threatened to arrest Newsom if citizens of this sanctuary state continued to interfere with immigration raids, and Newsom publicly dared him to do it, adding that California would be suing the Trump administration for making the situation worse by sending in the National Guard. On Monday, Homan appeared to backtrack on his threat while Trump said he would support it.

It was both a little — no one should have been surprised that ICE raids in L.A. would spark protests and these were, relatively speaking, small and nonviolent — and a lot. Sending in the National Guard was an obvious military flex, designed to to bait Angelenos while perhaps distracting Americans from Trump’s far greater troubles.

But nothing said “this is a made-for-TV event brought to you by the same reality-star-led administration that proposed making legal immigration into a television competition” as the presence of Phil McGraw. Who, after being embedded with ICE officials during raids in Chicago earlier this year, spent some of this weekend kicking it with Homan in L.A.’s Homeland Security headquarters.

As first reported by CNN’s Brian Stelter, Dr. Phil was there to get “a first-hand look” at the targeted operations and an “exclusive” interview with Homan for “Dr. Phil Primetime” on MeritTV, part of Merit Street Media, which McGraw owns.

Dr. Phil is, for the record, neither a journalist nor an immigration or domestic policy expert. He isn’t even a psychologist anymore, having let his license to practice (which he never held in California) lapse years ago.

He is instead a television personality and outspoken Trump supporter who was on hand to … I honestly don’t know what. Provide psychological support to Homan as he threatened to arrest elected officials for allowing citizens to exercise their constitutionally guaranteed right to free speech while using local law enforcement to prevent any violence or destruction of property that might occur? Offer Homan another platform on which he could explain why Trump is breaking his own vow to target only those undocumented immigrants who have committed violent crime?

Or maybe just provide a familiar face to help normalize rounding up people from their workplaces and off the street and sending in the National Guard when this doesn’t appear to be happening smoothly enough.

There is, of course, the chance that McGraw asked Homan some tough questions. In a clip from the interview posted on X, he appears to begin his interview by asking what exactly happened this “busy” weekend in L.A. Homan replies that multiple law enforcement agencies were “looking for at-large criminals” and serving search warrants as part of a larger money laundering investigation, including at one company where “we knew about half of their employees were illegally in the United States” and in “service of those warrants, we arrested 41 illegal aliens.”

Still, after years of claiming to be nonpolitical, McGraw gave the president a full-throated endorsement at Trump’s Madison Square Garden rally in 2024 while denouncing diversity initiatives. McGraw said the name of his media company pays homage to Americans who made it “on hard work … not on equal outcomes or DEI.”

McGraw’s presence during immigration raids, and his choice as the person who should interview Homan even as things escalated in L.A., would seem downright weird if it weren’t so politically perilous. Merit Street Media is one of a growing number of new news outlets claiming to offer “fresh perspective” on “American values” while hewing almost exclusively to Trump’s MAGA message and offering “safe spaces” to conservatives. Then-presidential candidate Trump told Dr. Phil in August — in reference to those involved in his felony conviction — “revenge can be justified” and that he would win California if Jesus were counting the ballots.

Using McGraw as a platform to explain Trump and Homan’s divisive immigration policy and incendiary decision in L.A. most certainly underlines the criticism that these raids, and the fallout they will inevitably cause particularly in sanctuary states and cities, are being conducted with maximum spectacle awareness. If McGraw isn’t a direct part of the policy, he appears to be a big part of its publicity.

Which is a bit alarming. Over the years, McGraw has been criticized about his treatment of guests (some of whom sued) and staff. In 2020, he issued an apology for comparing the mounting deaths from COVID-19 to the (far smaller) number of deaths due to drowning in swimming pools.

After his fellow Oprah alum, Dr. Mehmet Oz, ran for the Senate last year, McGraw shrugged off the notion that he would ever follow suit, saying he “doesn’t know enough about it.” “When you start talking to me about geopolitics and all the things that go into that — I’m a neophyte, I don’t think I would be competent to do that.”

Nor is there any indication that he is well-versed in immigration or constitutional law. If Trump and Homan honestly wanted a recognizable TV brand to help walk Americans through the legal complications of what happened in L.A. over the weekend, they should have asked Judge Judy.