Lifestyle
In L.A., you'll see babies at Costco and Chi Spacca. How young is too young for crowds?
In a sea of people, you might catch a glimpse of one. A tiny head barely peeking out of the top of a carrier. Or a small, scrunched face slumbering in a stroller. Sometimes, the magnificent creature will declare itself with a distinct cry and you know a fresh human baby is in your midst.
The natural habitat for a newborn baby is usually inside their home. But sometimes, you will spot one catching a matinee at the El Capitan Theatre.
That’s where Rob Hatch-Miller and his wife, Puloma Basu, took their newborn daughter the week she was born. It was 2017 and the first-time parents celebrated Hatch-Miller’s birthday with a baby-friendly showing of “Star Wars: The Last Jedi.” At the baby-friendly screenings — which ended at the El Capitan but are still offered at Alamo Drafthouse — babies were allowed to wail over the lowered movie volume.
For the new family of three, the outing was a respite before the arrival of the holidays and jubilant out-of-town relatives. The couple checked in with their pediatrician, who reminded them to feed the baby every two to three hours but otherwise wasn’t worried, said Basu, 44.
In the dimly lit theater, while Kylo Ren led an onscreen assault on the Resistance, their 6-day-old baby slept the whole time.
“It was a great birthday,” said Hatch-Miller, 43, who often advises expectant friends to take their babies into the greater world sooner than later. “You’re going to have a couple years where it’s really complicated to go out for a meal or just go see a matinee movie. Do it now while they’re small.”
Throughout Los Angeles, newborns make appearances at movie theaters, Costco, Starbucks and even fine-dining restaurants. While doctors recommend that newborns — especially during the first month of life — be kept away from crowded spaces to protect their health, not all parents feel the need to be so cautious.
The question about the ideal age to take a newborn into public spaces is raised again and again online by anxious new parents trying to balance their desires to protect and find normalcy. Is a quick trip to the grocery store forbidden? And if you go, is the employee at checkout yawning because of fatigue or the bubonic plague?
Parenthood is always complicated, but especially so at the beginning. So we talked to doctors and parents who’ve been there about how to navigate bringing a fresh baby into the wild.
If anything, avoid crowds the first month
A baby’s first month of life is the neonatal period, a vulnerable time because of their immature immune system.
“This is the time to avoid crowds,” especially crowded indoor spaces, said Dr. Robert C. Hamilton, a Santa Monica-based pediatrician and author of “7 Secrets of the Newborn.”
A fever in the first month could be a sign of a major infection, which means hospitalization, said Dr. Colleen Kraft, a pediatrician at Children’s Hospital Los Angeles and past president of the American Academy of Pediatrics.
Babies in the neonatal period are unimmunized. The first go-around of vaccines is usually complete when a baby is 2 months old.
“At 2 months of age, you can become a little more liberal in taking your child out into spaces where there are more people,” said Hamilton.
Before you go anywhere with a newborn, said Kraft, ask yourself: Is it peak flu season like the one that swamped California? If so, consider staying home.
The great outdoors is fine
Babies can be out in nature on their first day of life. Hamilton tells new parents they can walk home from the hospital if they so choose. “I don’t have too many takers on that,” he said.
Beaches, parks and neighborhood strolls are all OK too.
But Vivien Kotler, mom of two, cautions to not read too far into how you perceive others handling their babies out in the wild. She lives in a house that faces Silver Lake Boulevard and the reservoir loop — a favorite stroll for new parents.
Her window is like a real-life, highly curated Instagram feed. Each time before both her children — Pallas and Blaise, now 9 and 6 years old — were born, she remembers seeing moms who attended her prenatal yoga class one week and then were walking the loop with their newborns the next. “You see these people who seem effortlessly walking around doing normal things with their babies neatly wrapped into them or in the stroller,” said Kotler, 48. “And so, you’re thinking, ‘OK, that is what normal is.’”
Five days after giving birth to Pallas, Kotler went to a restaurant with her. It started out fine. Then Pallas cried and the outing spiraled into a mess. In hindsight, Kotler said she was chasing an image of being out and about that didn’t quite align with her values.
When her second child was born, she decided to let go of aspirational standards and focus on her relationship with her newborn — at home.
“You go to Legoland or Disneyland and you see these brand-new parents with babies who can barely see, and it’s like, you guys are going to have to do this for the next 10 years,” said Kotler. “You don’t have to start right as soon as the baby comes out.”
When craving normalcy
Life with a new baby can feel very busy.
“But it’s also kind of under-stimulating,” said Franziska Reff, a psychologist who practices in Atwater Village and runs a virtual support group for new moms. “Your social side and your intellectual side aren’t being utilized in the same way.”
For parents who choose to bring their newborn on outings — even a walk or a doughnut run — the experience can feel like a microdose of self-identity, said Reff.
Before their daughter, Alaya, was born, Jessica Ettman and her husband, J.D. Plotnick, dined out frequently. Both have backgrounds in the restaurant industry. Their initial intention was to pause their nightlife and nest with their newborn at home.
But when Alaya was not yet 3 weeks old, they took her to a family wedding. A few weeks later, a reservation at Camélia in the Arts District presented itself like manna from heaven. Alaya had already been out at the wedding, so they decided to give fine dining a try.
“We were at dinner for a couple hours, and it was really great,” said Ettman, 43. “Then I was like, ‘Let’s do it again.’”
Since then, Alaya, now 4 months old, has been to some of the best restaurants in the city. At Chi Spacca, the wait staff borrowed a chair with a back from Osteria Mozza next door so Ettman could feel more comfortable holding and nursing Alaya.
Every dining experience with the baby is tiring — equal parts nice and not worth it, said Ettman. Especially unpleasant: changing diapers in dimly lit bathroom stalls without changing tables after explosive newborn poops. But she always feels a sense of accomplishment at the end.
“It makes me feel like a super mom,” Ettman said. “I can bring my baby. I could see my friends. I can go anywhere I want to go and not feel self-conscious.”
Do experts follow their own recommendations?
Although he cannot recommend parents take a newborn (especially during the first month) into crowded spaces, Hamilton said there are ways to mitigate risk. Dine alfresco, he said. If that’s not an option, go to a corner table for an earlier reservation or a matinee movie before the crowds arrive.
Reff added there may be room for personal preference within doctor recommendations.
“I counsel a lot of parents to think about what works for you as a person and what works for you as a family because it’s about your risk tolerance,” she said. While living on the East Coast, she toted her own newborn on public transit.
“That just seemed normal to us,” said Reff.
This raises the question: Do doctors follow their own recommendations?
Yes, said Kraft, who has three children. She kept them at home as much as possible in their newborn days.
Hamilton paused to reflect on the question.
“We have six kids, OK,” he said. “We used common sense, but we were also surrounded by all these kids. We survived. They all survived. They’re all adults. They’re all taxpaying people.”
Lifestyle
Timothée Chalamet brings a lot to the table in ‘Marty Supreme’
Timothée Chalamet plays a shoe salesman who dreams of becoming the greatest table tennis player in the world in Marty Supreme.
A24
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A24
Last year, while accepting a Screen Actors Guild award for A Complete Unknown, Timothée Chalamet told the audience, “I want to be one of the greats; I’m inspired by the greats.” Many criticized him for his immodesty, but I found it refreshing: After all, Chalamet has never made a secret of his ambition in his interviews or his choice of material.
In his best performances, you can see both the character and the actor pushing themselves to greatness, the way Chalamet did playing Bob Dylan in A Complete Unknown, which earned him the second of two Oscar nominations. He’s widely expected to receive a third for his performance in Josh Safdie’s thrilling new movie, Marty Supreme, in which Chalamet pushes himself even harder still.
Chalamet plays Marty Mauser, a 23-year-old shoe salesman in 1952 New York who dreams of being recognized as the greatest table-tennis player in the world. He’s a brilliant player, but for a poor Lower East Side Jewish kid like Marty, playing brilliantly isn’t enough: Simply getting to championship tournaments in London and Tokyo will require money he doesn’t have.

And so Marty, a scrappy, speedy dynamo with a silver tongue and inhuman levels of chutzpah, sets out to borrow, steal, cheat, sweet-talk and hustle his way to the top. He spends almost the entire movie on the run, shaking down friends and shaking off family members, hatching new scams and fleeing the folks he’s already scammed, and generally trying to extricate himself from disasters of his own making.
Marty is very loosely based on the real-life table-tennis pro Marty Reisman. But as a character, he’s cut from the same cloth as the unstoppable antiheroes of Uncut Gems and Good Time, both of which Josh Safdie directed with his brother Benny. Although Josh directed Marty Supreme solo, the ferocious energy of his filmmaking is in line with those earlier New York nail-biters, only this time with a period setting. Most of the story unfolds against a seedy, teeming postwar Manhattan, superbly rendered by the veteran production designer Jack Fisk as a world of shadowy game rooms and rundown apartments.
Early on, though, Marty does make his way to London, where he finagles a room at the same hotel as Kay Stone, a movie star past her 1930s prime. She’s played by Gwyneth Paltrow, in a luminous and long-overdue return to the big screen. Marty is soon having a hot fling with Kay, even as he tries to swindle her ruthless businessman husband, Milton Rockwell, played by the Canadian entrepreneur and Shark Tank regular Kevin O’Leary.
Marty Supreme is full of such ingenious, faintly meta bits of stunt casting. The rascally independent filmmaker Abel Ferrara turns up as a dog-loving mobster. The real-life table-tennis star Koto Kawaguchi plays a Japanese champ who beats Marty in London and leaves him spoiling for a rematch. And Géza Röhrig, from the Holocaust drama Son of Saul, pops up as Marty’s friend Bela Kletzki, a table tennis champ who survived Auschwitz. Bela tells his story in one of the film’s best and strangest scenes, a death-camp flashback that proves crucial to the movie’s meaning.
In one early scene, Marty brags to some journalists that he’s “Hitler’s worst nightmare.” It’s not a stretch to read Marty Supreme as a kind of geopolitical parable, culminating in an epic table-tennis match, pitting a Jewish player against a Japanese one, both sides seeking a hard-won triumph after the horrors of World War II.

The personal victory that Marty seeks would also be a symbolic one, striking a blow for Jewish survival and assimilation — and regeneration: I haven’t yet mentioned a crucial subplot involving Marty’s close friend Rachel, terrifically played by Odessa A’zion, who’s carrying his child and gets sucked into his web of lies.
Josh Safdie, who co-wrote and co-edited the film with Ronald Bronstein, doesn’t belabor his ideas. He’s so busy entertaining you, as Marty ping-pongs from one catastrophe to the next, that you’d be forgiven for missing what’s percolating beneath the movie’s hyperkinetic surface.
Marty himself, the most incorrigible movie protagonist in many a moon, has already stirred much debate; many find his company insufferable and his actions indefensible. But the movies can be a wonderfully amoral medium, and I found myself liking Marty Mauser — and not just liking him, but actually rooting for him to succeed. It takes more than a good actor to pull that off. It takes one of the greats.

Lifestyle
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Lifestyle
Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died
Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.
Andreas Rentz/Getty Images
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Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.
Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.
Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.
Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”
Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.
Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”
The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.
After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.
In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.
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