‘Laurel Canyon’: TV Review

Watch Video: 'Where's My Roy Cohn?' Director Explains How McCarthy's Counsel and Trump Are 'Cut From the Same Cloth'It is unsurprising that Meeropol would lack the objective distance needed to deal with the part of this story that is personal to her, but her attempt midway through the film to contrast her father’s taste for folk music with Cohn’s lust for the disco hits at Studio 54 backfires; the leftist sing-a-longs described here sound far less attractive than the hedonism at that club.

tornadoes and bonding over antipathy for an Eric Clapton song. “There's no place like my room,” Bridgers sings on “I Know the End.” Skeletons, ghosts and other romantic wreckage make the slightly unsettling, carefully considered audio gauze an appropriately match for the lyrics.

In light of nationwide protests after George Floyd died at the hands of the Minneapolis police department, Nick Cannon has opened up about his kids' perception of law enforcement, saying that they "fear police." Cannon has three children: nine-year-old twins, daughter Monroe and son Moroccan Scott with his ex-wife Mariah Carey, and three-year-old son Golden with model Brittany Bell.

Chris Willman Music WriterLaurel Canyon is a very real place, but it comes off almost as a Brigadoon-style dream in the commemoration of the L.A.

Anderson Cooper and Andy Cohen still make the perfect “Who Wants To Be A Millionaire” team.

Eric Clapton, Brian Wilson, David Crosby, Jackson Browne, the late Tom Petty and more.

By Dave McNary

By Rebecca Davis

By Tom Grater

More than 40 people have been injured after a crazed knife attack in a school in China.

U.S. President Donald Trump’s heavy-handed response to George Floyd protests has given China’s propaganda machine invaluable fodder to slam the U.S. for hypocrisy in its support of anti-government protesters in Hong Kong.

By Patrick Frater

The East-West tussle between efficient authoritarianism and the wealthy but decaying democratic-capitalist model has seen blood spilled daily on the streets of Hong Kong — even more so now that coronavirus is on the wane and social distancing is being relaxed.

By Patrick Frater

With Laurel Canyon, Alison Ellwood goes to the source: Her stirring composite portrait of a vibrant, groundbreaking music scene is built almost entirely from archival stills and footage, much of the material rare and some of it never before viewed publicly. The voices we hear belong to people who were there, and they have stories to tell — some that will be familiar to aficionados, and some that illuminate whole new corners of a well-traveled pop-culture history.