Come unwind and get inspired at Ironside Pizza with an unforgettable night of art, wine, and wood-fired pizza. Whether you're a seasoned artist or just looking for a creative way to relax, this workshop is the perfect blend of hands-on expression and good vibes. What’s included: A guided art workshop — no experience necessary! Fine wine to sip as you create Fresh, delicious Ironside Pizza Soft drinks for a refreshing touch Bring a friend, a date, or just your curiosity — and leave with your own unique piece of art and a heart full of good memories. Date and Time: Thursday, May 15 · 7 - 9pm EDT Address: 7580 Northeast 4th Court Miami, FL 33138 By ML Staff. Image courtesy of Miami Ironside

Oscar Piastri has strengthened his lead in the World Championship by clinching his fourth victory of the season at the Miami Grand Prix, the Australian leading home team mate Lando Norris to seal a dominant 1-2 for McLaren. While Max Verstappen initially led away from pole, a battle with Norris saw the Briton run wide and drop down the order – letting Kimi Antonelli and Piastri through in the process. But as the laps ticked down – and Piastri overtook the Mercedes – Verstappen soon found himself under increasing pressure from the championship leader. After Piastri eventually found a way past into the lead, a recovering Norris subsequently followed through into second, allowing the papaya cars to build up a sizeable gap at the front. And while plenty of action unfolded behind them across the 57-lap event, the papaya cars looked to be in a league of their own right to the chequered flag, where Piastri crossed the line by 4.63s from Norris. Mercedes’ George Russell claimed the final spot on the podium in third – despite being a whopping 37 seconds back from Piastri, highlighting McLaren’s commanding performance – while Verstappen had to settle for fourth in the Red Bull, continuing the statistic of the Miami polesitter never having won the race. Alex Albon was an impressive fifth for Williams, ahead of Mercedes’ Kimi Antonelli in sixth. The Ferrari pair of Charles Leclerc and Lewis Hamilton, meanwhile, were seventh and eighth respectively, the pair having been involved in a lengthy team orders debate in the latter stages that saw Hamilton moved in front before the positions were reversed later on. Hamilton held onto eighth despite a late-race scrap with the Williams’ of Carlos Sainz, the Spaniard remaining in ninth following the incident that will be investigated after the race. Yuki Tsunoda, meanwhile, grabbed the final point on offer in P10 for Red Bull. There was plenty of action as the Miami Grand Prix got underway Kick Sauber’s Nico Hulkenberg claimed P14 for Kick Sauber, while Aston Martin had a challenging day at the Miami International Autodrome, with Fernando Alonso and Lance Stroll the last classified runners in P15 and P16. Four drivers retired from the event, with Racing Bulls’ Liam Lawson being forced to return to the pits while Kick Sauber’s Gabriel Bortoleto and Ollie Bearman both sparked Virtual Safety Car periods after stopping out on track with mechanical issues. Jack Doohan, meanwhile, saw his race end on Lap 1 following contact with Lawson, the Alpine driver pulling off the circuit after picking up too much damage to continue. Championship leader Piastri was in commanding form at the Miami International Autodrome AS IT HAPPENED After an eventful two days of action at the Miami International Autodrome – featuring a chaotic wet-dry Sprint followed by a hard-fought Qualifying session – the attentions of the paddock turned to the Miami Grand Prix. In a repeat of the heavy rain that had hit the circuit prior to Saturday’s Sprint, the heavens had opened again in the hours before Sunday’s race. While the showers had ceased as the start time approached – and the track was quickly drying – the teams would certainly be keeping an eye on the forecast for the 57-lap encounter. One change to the grid – which would be headed by polesitter Verstappen and second-placed Norris – saw Gasly move from P18 to the pit lane, due to the Alpine squad having changed the set-up of the car’s suspension whilst under parc ferme conditions. After a unique drivers’ parade earlier in the day in which all 20 drivers got behind the wheel of fully driveable LEGO big build cars, the field switched their focus to their usual challengers as the time for lights out neared. Once the cars had assembled on the grid and the tyre blankets were removed ahead of the expected one-stop event, it was revealed that most of the pack had opted for the medium compound. Russell, however, had opted for the hard, along with Lawson, Hulkenberg, Alonso, Bearman and Gasly. Verstappen led away from pole position as the Miami Grand Prix got underway With the formation lap completed, the five lights went out to get the Miami Grand Prix underway – and Verstappen initially got away smoothly, only to experience a slight lock-up into Turn 1 which encouraged Norris to get alongside the Red Bull. However, a moment of contact between the pair saw the Briton run across the apex into Turn 2 and drop a number of positions to end up in sixth, allowing Antonelli and Piastri through into second and third. The McLaren driver went on to report: “He forced me off” Meanwhile there was trouble further back for Doohan, who made contact with the Racing Bulls of Lawson and picked up a puncture. The damage ultimately proved too much for Doohan to return to the pits, the Alpine stopping out on track which led to the deployment of a Virtual Safety Car. Lawson had remained in the running, albeit at the back of the order. Shortly after the VSC period ended on Lap 4, Piastri was quick to make a move on Antonelli to snatch P2 while Norris grabbed P5 from Albon – both welcome sights for the McLaren pit wall, with Piastri subsequently starting to cut into Verstappen’s 1.5s lead. Other moves were unfolding elsewhere, as Hamilton overtook Hadjar for 11th and Sainz took sixth from team mate Albon. “Possible rain in 20 laps. It will be heavy if it hits,” Alonso was being told by his race engineer. Race control, meanwhile, had noted the Lap 1 incident between Verstappen and Norris before deciding that no further action was needed, with the same verdict being given to the Doohan and Lawson contact. As Lap 8 ticked down, Verstappen continued to lead from Piastri, Antonelli, Norris, Russell – who looked to be struggling with his hard tyres – Sainz, Albon, Leclerc, Tsunoda and Ocon. It did not take long for that to change again, as Norris soon gained another position by getting past Antonelli. There was heart-in-mouth moment for Alonso, who suffered a spin at the same corner where he crashed in Saturday’s Sprint – but fortunately managed to avoid the walls on this occasion. Back up front, further tense scenes were playing out as Piastri set about trying to overtake Verstappen, having closed right in on the Red Bull. Two attempts on Lap 11 fell short, with Verstappen told by race engineer Gianpiero Lambiase to “stay on the inside” and “make him work for it”. All of this was allowing Norris, meanwhile, to chase down the leading two cars. “It’s super slippery to drive,” Verstappen reported, seemingly in reference to the tyres. Piastri could wait no longer on Lap 14. After the papaya car was initially forced wide, backing out of a move, Verstappen then out-braked himself and went wide in the process, which allowed Piastri to cut back through to become the new race leader. And just one lap later there was a sense of déjà vu for Verstappen as Norris closed in on the World Champion – but this time a move around the outside of Turn 1 did not work for the Briton, leading the McLaren team to coach him over the radio on how Piastri found a way past. The battle got increasingly feisty by Lap 18, with Norris pushing Verstappen wide into Turn 11 to squeeze down the inside and take the position. The Briton subsequently handed the place back – having seemingly gone off the track when making the overtake – but then retook P2 later in the lap. Amidst this scrap, Piastri had checked out up ahead, having built up a nine-second lead. Bortoleto, meanwhile, became the first driver to pit on Lap 20 to switch from the medium to hard tyres – just as light drops of rain looked to be falling at the Miami International Autodrome. Would the intensity of this increase as the race progressed? Elsewhere, a thrilling fight was playing out for 10th place between Ocon and Hamilton, with the Ferrari man eventually finding a way past the Haas to claim the final points-paying position. By Lap 24 the order ahead of Hamilton stood as Piastri, Norris, Verstappen, Antonelli, Russell, Albon, Sainz, Leclerc and Tsunoda. McLaren looked to be in a class of their own, though, with Piastri leading by eight seconds from Norris while the latter had built the same gap back to Verstappen in third – with the Mercedes pair getting closer to the Red Bull in fourth and fifth. Antonelli subsequently dived into the pits on Lap 26 – but experienced a slightly slow stop after having to wait for Sainz to go past in the pit lane, seemingly ruining the Italian’s chances of undercutting Verstappen. Norris, meanwhile, was warned that “possible light drops of rain” could fall in the next two laps, mostly concentrated at Turn 17. Verstappen could not keep the McLarens at bay, despite battling hard against both Piastri and Norris The pit stops were soon coming in thick and fast, with Verstappen the first of the top three to stop for the hard tyres. But back on track Bearman was having mechanical problems, the Haas driver pulling off the track at Lap 29, resulting in a Virtual Safety Car being called. McLaren then called both drivers to pit in a double stack, allowing Piastri and Norris to reemerge in P1 and P2 respectively, while Russell benefitted from pitting under the VSC to take P3 from Verstappen. Others having a good phase of the race included the Williams team, with Albon picking off Antonelli for fifth while Sainz had grabbed seventh from former team mate Leclerc. But things were not going so well for Tsunoda, who had collected a five-second time penalty for speeding in the pit lane. Also in trouble was Bortoleto, with the Kick Sauber driver told to retire the car after earlier complaining of engine issues. The Brazilian was ultimately unable to make it back to the pits and stopped on track, meaning that another Virtual Safety Car was deployed. After the VSC period ended, an exciting battle played out between the two Ferrari cars and Sainz, with Leclerc trying to overtake for seventh – a move that he subsequently pulled off, with Hamilton then following through to move up into eighth. Sainz was involved in a scrap with former team mate Leclerc A debate ensued over the radio at the Scuderia as Hamilton – running on the medium tyres in contrast to the hards on Leclerc’s car – suggested that he should be let by, leading the seven-time World Champion to comment that the situation was “not good teamwork” as he was kept behind. After further frustrated messages from Hamilton – who sarcastically told the team to “have a tea break while you are at it” amid a delay in making the call – the decision was eventually made to swap the cars. Elsewhere, Lawson became the fourth retiree from the race, the New Zealander returning to the pits. As Lap 45 ticked down, Piastri remained five seconds ahead of Norris in the lead – while Russell was a whole 27 seconds adrift in third, outlining the commanding performance of the McLarens. The Briton could not rest easy, however, as Verstappen was on the chase in the fight for the final position on the podium. Albon was running in fifth ahead of Antonelli, with Hamilton and Leclerc still in seventh and eighth – and that situation was not settled yet, with Leclerc having significantly closed the gap to his team mate. Intriguingly, Norris looked to be edging closer to Piastri as the Australian’s advantage came down to just over four seconds after lapping some backmarkers. Would a late-race showdown ensue between the two McLaren drivers? Hamilton made gains after starting from P12 on the grid The stewards looked to be in for a busy evening post-race, having confirmed that they would investigate Sainz and Gasly for possible yellow flag infringements after the Grand Prix. But there was still plenty of action to be had out on track as the race entered its final five laps, with Norris again cutting Piastri’s lead down. Elsewhere, with Hamilton having been unable to close in on Antonelli, the Briton was asked to swap positions back with Leclerc. In an unusual turn of events, Leclerc had been told of this before Hamilton, meaning that the seven-time World Champion had not known he was expected to yield. When he had been informed, Hamilton followed the instruction, while Leclerc commented: “We’ll discuss after the race.” The drama was not over for Hamilton, though, who found himself being hunted down by the Williams of Sainz. A last-lap lunge from Sainz ultimately did not go in the Spaniard’s favour – and will also be investigated after the race. But there were no such problems up front, with Piastri crossing the line to clinch his fourth win of the season by 4.63s from Norris in a sublime day for McLaren. Russell added to his tally of podium finishes by taking third, with Verstappen unable to close the gap in fourth. Albon followed in a strong fifth for Williams, ahead of the Mercedes of Antonelli in sixth and the Ferrari duo of Leclerc and Hamilton in seventh and eighth. Sainz and Tsunoda rounded out the top 10, ahead of Hadjar, Ocon, Gasly and Hulkenberg in 11th through to 14th respectively. Aston Martin, meanwhile, had a day to forget, with Alonso and Stroll completing the classification in 15th and 16th places. A total of four drivers retired from the event, as Lawson, Bortoleto, Bearman and Doohan all failed to make the chequered flag. At the close of a busy weekend in Miami, Piastri has now increased his points tally to 131 at the top of the Drivers’ Championship, 26 points clear of Norris in second, while Verstappen remains in third on 99 points. Piastri, Norris and McLaren CEO Zak Brown were all smiles after a stunning performance from the team "I won the race that I really wanted to," said Piastri. "Yesterday was a tricky day. Obviously the Sprint was what it was, but Qualifying was probably one of my trickiest sessions of the year. To come away with a win still on Sunday is an impressive result. Obviously there was a bit of argy-bargy at Turn 1 which helped me out a little bit, and then I was aware enough to avoid Max coming through in Turn 1. From that point onwards I knew that I had a good pace advantage and clearly the car was unbelievable today." What’s next After a week off, F1 will travel to Imola for the Emilia-Romagna Grand Prix from May 16-18. Head to the RACE HUB to find out how you can follow the action. Story/Photos courtesy of Formula One World Championship Limited

The highly anticipated Miami Open presented by Itaú is fast approaching, bringing with it the world’s top tennis talent to the vibrant city of Miami and right into the pages of Miami Living Magazine. To celebrate the upcoming combined ATP WTA tennis event, scheduled from March 17 to 31, we feature exclusive conversations, and insights from the sport’s most prominent tennis figures, plus an interview from James Blake, Miami Open’s tournament director on what you can expect this year. Photo: Miami Open presented by Itaú To start, the rising star Carlos Alcaraz graces Miami Living Magazine’s cover, followed by the victorious champion of the Australian Open 2024, Jannik Sinner, and the formidable Australian Open 2024 finalist, Daniil Medvedev. Moreover, conversations with Aryna Sabalenka, the two-time Australian Open winner, alongside America’s top players, Taylor Fritz and Coco Gauff, are shared in this issue. Not to be overlooked is an interview with Victoria Azarenka, a former World No. 1 and three-time Miami Open champion. MORE TENNIS You may also like Miami Living's conversations with: Carlos Alcaraz Daniil Medvedev Jannik Sinner Taylor Fritz Coco Gauff Aryna Sabalenka Victoria Azarenka James Blake By Markin Abras

The Institute of Contemporary Art, Miami, presents “Sanaa Gateja: Language of We,” a solo exhibition of the Ugandan artist Sanaa Gateja that includes a dozen tapestries produced over the last eight years. Sanaa Gateja, Stump Anew, 2023. Paper beads on barkcloth. 93 1⁄2 x 72 1⁄2 in.; 237.49 x 184.15 cm. Courtesy the artist and Karma. An important artist and cultural activist working in East Africa, Gateja came of age during the independence of Uganda and early in his adult life worked in the country’s Ministry of Culture, promoting arts and crafts. He subsequently studied design in Florence and London. While studying jewelry-making at Goldsmiths, University of London, Gateja was introduced to the paper-bead jewelry that became popular in England in the wake of World War II, when resources were scarce. The artist recognized the potential in paper-bead making to produce tradable objects with an inexpensive and nearly limitless resource—used and discarded paper—and simple processes. Enthralled by the African beadwork he had seen as a child, Gateja returned to Africa in 1990 and shared the method with women and youth in various communities and refugee camps, supporting them in developing local handicraft economies. Sanaa Gateja, Kitty, 2019. Paper Beads on barkcloth. 85 % x 54% in.; 217.8 x 137.79 cm. Courtesy the artist and Karma. Gateja’s own works employ this same paper-beading method, and layer in inspiration from the basket weavers and blacksmiths of the village in which he grew up. The resulting dynamic and chromatically rich tapestries cut across numerous pictorial genres, including still life, portraiture, and abstraction. His distinctive and laborious method requires the involvement of artisans in his community, whom he has trained and employed since the early 1990s. Gateja and his studio community recycle all kinds of discarded papers, dye them through natural and synthetic processes, and roll them into three-quarter-inch beads. Following sketches he makes directly on swaths of bark cloth, a material traditionally used as a textile in East Africa, Gateja affixes the beads, often adding raffia and banana fibers. The results are materially complex and striking woven pictures that create deep connection with their environment and cultural lineages, while simultaneously foregrounding the global landscape of media and printed information in which we reside. Sanaa Gateja, Think Home, 2022. Paper beads on barkcloth. 32 x 21 in.; 81.28 x 53.98 cm. Courtesy the artist and Karma. Sanaa Gateja (b. 1950, Kisoro, Uganda) was included in the Carnegie International in 2022 and represented the Ugandan Pavilion at the 60th Venice Biennale in 2024. His works are held in museums and private collections worldwide, including the Carnegie Museum, Pittsburgh; the de Young Museum, San Francisco; the Field Museum, Chicago; the National Scottish Museum, Edinburgh; and the Victoria and Albert Museum, London. Sanaa Gateja, Safe, 2023. Paper beads on barkcloth. 71 x 57 in.; 180.34 x 144.78 cm. Courtesy the artist and Karma. “Sanaa Gateja: Language of We” is organized by the Institute of Contemporary Art, Miami, and curated by Gean Moreno, Director of the Art + Research Center at ICA Miami. May 10, 2025 - Nov 02, 2025 Weekly on Sunday, Wednesday, Thursday, Friday, Saturday From: 11:00 Am to 6:00 Pm For more information, visit: ICA Miami By ML Staff. Courtesy of Institute of Contemporary Art Miami

Composer, artist, and Director Nathan Felix’s new immersive opera breaks down the wall between performer and audience. Featuring original music and story, as told through a local ensemble, with world-class singing, theatrical narrative, movement, and exploration of sound. Nathan Felix is a Mexican-American composer known for his immersive operas and experimental films. Felix has premiered 16 operas, 4 symphonies and various chamber works in Spain, Japan, Australia, Bulgaria, Portugal, China, Sweden, Denmark, Mongolia and the United States and has been featured on the BBC, MTV, NPR, TPR & PBS. Felix, a non-award winning composer, often focuses on telling Latinx themed and minority stories that highlight border issues, underserved communities and his Hispanic heritage. He is the current recipient of Opera America’s prestigious IDEA Grant for his work, Faces in the Flames with librettist Anita Gonzalez. Felix also serves as the founding director for the Opera Austin Festival. 6 PM | Doors Open 7 PM | Performance (1 hour) Visit this link  to RSVP! Third Thursday is presented by Art Bridges Access for All. Additional support from O, Cinema. By ML Staff. Image courtesy of Bass Museum of Art

Join us in May for our monthly mix and mingle experience; Art After Hours: All The World's a Stage. Build your own set! Get ready to design miniature opera stages using fabric, found objects, and lighting elements. The teaching artist guides participants through creating set pieces that mirror the emotional landscapes of operatic storytelling. Art After Hours is created for adults ages 21+ at any skill level. All art-making materials are provided and available to take home after class! The class is $25 for museum members and $30 for nonmembers. May 15, 6:30–8 PM Link here to register! By ML Staff. Image Courtesy of Bass Museum of Art

School of Communication’s annual LA Canes Film Showcase celebrates excellence in student production, featuring competitively selected student films. The evening offers a valuable opportunity for Cinematic Arts students to travel to Los Angeles to connect with prominent University of Miami alumni and industry leaders. Winners are selected at the Canes Film Festival at the University of Miami and the top films are screened at the LA Canes Film Showcase where the student filmmakers will present their award-winning films. We extend our sincere gratitude to Bob Denholtz, BBA ’71; Maribel Perez-Wadsworth, BSC ’93; Devang Desai BA ’97, JD ’03; and the UM Citizen's Board for their invaluable support of this schowcase. Date and Time: Friday, May 16, 2025 6pm to 11pm Address: Sony Pictures Studios 10202 Washington Blvd, Culver City, CA  90232 By ML Staff. Courtesy of University of Miami

Pérez Art Museum Miami (PAMM) is thrilled to announce its inaugural open call for digital art commissions from the crossroads of the Americas. The museum’s first-of-its-kind program offers financial support to produce experimental digital artwork across South Florida, Latin America, the Caribbean, and the African Diaspora. Selected artists may be awarded between $1,000–$15,000 during an estimated 12-month period, expanding and advancing the museum’s presentation, study, and interpretation of international contemporary digital art. The open call for digital art commissions launches on April 30, 2025 . The application deadline is June 30, 2025, at 11:59pm PST . The open call fosters the creation of innovative digital artworks that reflect PAMM's unique position at the crossroads of the Americas, bolstering artistic representation and reproduction within these regions. The open call aims to expand scholarship and engagement with digital art, advancing the museum’s mission to lead in the presentation, study, and interpretation of international contemporary digital art. “This open call seeks to bolster new media practices across PAMM’s purview and reroute the history of digital art beyond what is typically shown in museums and galleries,” said Jay Mollica, PAMM senior director of digital engagement. "The economic, artistic, and scholarship opportunities built into the open call are vital for our digital arts ecosystem to thrive across South Florida, Latin America, the Caribbean, and the African Diaspora,” said Lauren Monzón, program manager of digital engagement. Applicants can submit proposals for original projects in any production phase, including pre- to post-production. Successful digital art proposals will use the internet and digital processes to conceptually and practically shape their projects, including many disciplines spanning video art, film, augmented reality, net art, 3-D sculpture, video games, virtual reality, generative art, as well as forms yet to be discovered. There is no fee for the museum’s open call for digital art commissions. Proposals must be submitted electronically through PAMM’s application portal here . Learn more about the open call, applicant eligibility, evaluation criteria, and how to apply by visiting pamm.org . By ML Staff. Courtesy of PAMM

Miami-based ceramic artist Tatiana Cardona is the founder of  Female Alchemy , a body of work devoted to exploring the emotional and spiritual essence of womanhood. Her ceramics are deeply informed by her Colombian heritage, her upbringing, and the enduring influence of the women who have shaped her life. Through her hands, clay becomes a language—an intimate storytelling tool that allows the artist to reconnect with her inner child, honoring her culture, and giving shape to memory and feeling. Each piece is intentionally one-of-a-kind, never replicated, and serves as a physical embodiment of a person or moment that has left a mark on Cardona—be it someone she has loved, briefly encountered, or quietly observed. These sculptural forms are not just functional objects, but vessels of experience: moody, emotional, and evocative of the complex emotional terrain of girlhood, femininity, and human connection. With  Female Alchemy , Tatiana creates more than ceramics—she creates a world. A world where softness is power, individuality is sacred, and art becomes a form of healing. Explore Cardona’s intimate world during  The Shop x Female Alchemy Pop Up  on view beginning May 15, only at The Bass. Presented by A1A and Studio AF.  FREE event. No RSVP required. Follow  @female.alchemy on Instagram at the link below! By ML Staff. Image courtesy of Bass Museum of Art

Miami travelers seeking the height of luxury hospitality can now indulge in Raffles Hotels & Resorts ' latest campaign, ‘ The Butler Did It .’ Renowned for its legendary service and signature Butler Service, Raffles is offering exclusive and bespoke experiences that showcase the rich culture and history of its iconic destinations around the world. From personalized cultural explorations in Cambodia to historic journeys in London, these curated packages are designed to transform any stay into an unforgettable experience, with Raffles Butlers orchestrating every detail with precision and care. For over a century, Raffles has been synonymous with exceptional, highly personalized service, with its butlers at the heart of delivering extraordinary moments of delight. “The magic of Raffles lies in delivering a highly personalized level of service that transforms a stay into a remarkable experience,” says Omer Acar, CEO of Raffles Hotels & Resorts. “Our legendary butlers have been the soul of this tradition since 1887, embodying the art of intuitive and emotional hospitality. With ‘The Butler Did It’ campaign, we celebrate this legacy with immersive journeys tailored to the elegance and charm of each destination.” Among the standout itineraries, Miami guests can discover a twin stay at Raffles Grand Hotel d’Angkor and Raffles Hotel Le Royal in Cambodia, blending ancient history with world-class wellness and dining. In London, Raffles London at The OWO offers an exclusive visit to a hidden Whitehall location, where guests will explore the underground lair where Winston Churchill masterminded WWII strategy. For those seeking a more exotic retreat, Raffles Bali invites guests to immerse themselves in the island’s beauty with private yacht tours, wellness rituals, and cultural experiences. Each bespoke package is carefully crafted to deliver unforgettable moments, guided by Raffles’ legendary butlers. As the brand continues to expand globally, with new locations in cities such as Jaipur, London, and Doha, Raffles Hotels & Resorts promises an elevated level of elegance and hospitality for travelers from Miami and beyond. With ‘The Butler Did It,’ the hotel chain brings an unparalleled experience that combines luxury, culture, and personalized service in destinations worldwide. For more information, visit: www.raffles.com/the-butler-did-it . By ML Staff. Image Courtesy of Raffles Hotels & Resorts

Legendary actor and director Tim Matheson  sat down with Miami Living's entertainment journalist, Allison Kugel, on the latest episode of the Allison Interviews podcast, discussing all he’d learned about the safe use of fire arms on film and television sets, working with Hollywood armorers during his western days, and what went wrong on the set of Alec Baldwin’s film, Rust, that led to the death of cinematographer, Halyna Hutchins.   He also discusses his experience directing Meghan Markle on the USA Network series, Suits, his close friendship with his Animal House co-star, the late John Belushi, the pressure cooker that was The West Wing, how his military service shaped him, and his hit Netflix series, Virgin River.   Tim’s new memoir, Damn Glad to Meet You: My Seven Decades in the Hollywood Trenches, is out November 12th, everywhere books are sold.   On the deadly gunfire accident on Alec Baldwin’s Rust set that claimed the life of cinematographer, Halyna Hutchins:   “I was 18 or 19 when I started working on The Virginian, and for the next four or five years I worked on it, and then the western pilots I did, and then on Bonanza, and The Quest. I would always check my own weapon. When someone handed me a weapon, I would check to see if it was empty. To make sure it was empty, I would dry fire it six times to make sure there was nothing in it. So, even if there was something I’d missed, I’d point it at the ground and go, ‘click, click, click, click.’ I’d make sure. I was trained, and never ever was there an accident on the set. But you never pointed a gun at anyone, and if I had to rehearse pointing a gun at a camera, I would use my hand (to mime a gun). I would never point a real gun at anyone. Evidently, those lessons didn’t translate to that [Rust] set where that accident happened.”   “You know, there’s that whole thing in Hollywood, or in movies, people are always, ‘Rush, rush, rush! C’mon we gotta go to the next thing! Forget that!’ And it sounded like there was a lot of that going on, on [the Rust set]. But I, also as a director, I would always say, ‘Show me the gun.’ I would get the gun from the armorer. I would take everybody aside and say, ‘Hold on, safety meeting!’ I would open the gun. I would make sure the gun was clear and empty. I would dry fire the gun six times. If it was a semiautomatic I would do the same thing. I would say, ‘Clean gun on set!’ If you have a real gun you are going to use on set with blanks, I’d say, ‘Hot gun on set!’”   “You always notify everyone, and you take your time when there is a weapon like that, because something could happen. I can’t imagine why a real round of ammunition would ever be within a mile of a set. I have no idea how that happened. That’s just insane.”   On directing Meghan Markle on Suits:   “She was so great. She was a lovely actress and woman. I didn’t get to know her very well, because as a director you’re [all over the place]. There’s a hundred million things you’re doing. But she was always prepared, very, very good on set, and very nice to everyone… as all of the actors were on that set. It was really a treat. As I recall, she was engaged to someone at the time, not Prince Harry. But she was just lovely.”   On making National Lampoon’s Animal House, and what led to co-star and friend John Belushi’s death at age 33:   “John Landis, the director, wanted John Belushi surrounded by real actors rather than an SNL sketch. Chevy [Chase] was originally wanted for Otter (Matheson’s part in Animal House), and Landis didn’t really want Chevy. He didn’t want to do an SNL movie. He wanted real actors around Belushi. John Landis called him ‘Harpo Marx meets The Cookie Monster.’ That’s what that Bluto character was. And Belushi was so supportive and generous and gracious to me as a fledgling comedic actor. John Belushi embraced me, and I got to be a pretty good friend of his. He was a good friend of mine for many years after that, but not long enough (referring to Belushi’s death in 1982, at age 33). And he was the biggest star in the world. He was on the number one TV show, the number one movie after Animal House came out, and he had the number one album with Briefcase Full of Blues. I don’t know how anybody could survive that. Everyone wanted to party with him. They thought he was Bluto. They thought he was that crazy guy on Saturday Night Live. So there was no off time for him. I saw a big change in him from when we made Animal House to when we made the film 1941, the Steven Spielberg movie. It had taken a toll, because he became more and more isolated from the day to day things that people in a more normal life have. And that [normal] life wasn’t for him anymore   On what’s wrong with America in 2024:   “I do believe that service is something that we lack now. There’s no draft. There is no commitment to our country that every American must make. I just feel that the greatest generation - World War I, World War II, and Korea and Vietnam - where men and women served their country, risked their lives in many cases, devoted years of their life to service to their country… that is a lesson that has been forgotten. Something’s been lost because of that, and it’s opened a chasm where something like January 6th could occur. It created an environment where someone speaks so dismissively and erroneously about the government and about what it’s doing, and people believe that. We owe it to ourselves to reflect and look back and re-create a public service. Whether it’s one year, two years, or whether it’s Peace Corps, military service or school service. Some kind of debt we owe to our country. I personally think it’s a good thing that a lot of people who are running for election have served, because then they understand better, in some cases, and some people don’t.”   On his experience working on The West Wing:   “Martin [Sheen] was busy, busy, busy. I would pop in and out for parts of certain episodes, maybe seven or eight episodes a season. So, I was a guest actor that popped in and out [as Vice President John Hoynes]. And Martin is also kind of a method actor. I was kept at arms’ length from him, as the president. His character [President Josiah Bartlet] did not care for me that much. As Vice President, his character and mine were not enemies, we wanted the same thing, but I wanted it for me. I was the man who should have been president, and he lucked out.”   “You had your hands full when you were a regular on [The West Wing]. Allison Janney would come in on her day off and go and drill, drill, drill those press conferences where she had every line of dialogue that would go on for five minutes. Richard Schiff would do the same thing. There was such a high standard of performance on that show, that no one would dare not be prepared. You came on set in character. You really did. I was always nervous.”   On the success of his Netflix series, Virgin River:   “Season 6 premieres December 19th, and we’ve been renewed for season 7, so we start shooting season 7 in March, of a show that we had no idea would be as successful and revered as it is. We are so happy and grateful that we have a tremendous audience that loves the show, and we love doing it. And we have a great family up in British Columbia, where we shoot, to simulate Northern California.”   *Tim’s memoir, Damn Glad to Meet You, is out Nov. 12th everywhere books are sold. Interview by Allison Kuge.  Allison Kugel is a veteran entertainment journalist and host of the Allison Interviews podcast. Watch and embed the entire episode with Tim Matheson @ YouTube . Listen to the audio podcast on Apple Podcasts  or Spotify . Follow Allison Kugel on Instagram @theallisonkugel  and at AllisonInterviews.com .

This Mother’s Day make it extra special for mom at TULUM Rooftop Bar & Restaurant at W Miami. Executive Chef- Francisco Merizalde, and Sous Chef- Damian Hernandez, have crafted a menu that is sure to impress. Think, Seafood Paella, NY Strip Steak, Roasted Mahi Mahi with Pineapple Sauce. Top it off with strawberry blondies, fruit tarts and more. Sip on unlimited Mimosas and palomas at our specialty “MOMosa Bar”, with flavors of lychee, lavender, blood orange and original, while listening to a live violinist. We have partnered with Kendra Scott for a pop-up shopping experience on the Rooftop Terrace. Refresh your collection with Kendra Scott’s latest arrivals and create a charmed moment with mom. What’s more to love, eat, sip, shop and make memories, that she will cherish this Mother’s Day!   Adult Price : $65 plus taxes and service charge (One “MOMosa” per person, non-alcoholic beverages, featuring, soda, American coffee, and tea included) Child Price (Ages 4-12): $35 plus taxes and service charge (non-alcoholic beverages, featuring, soda, American coffee, and tea included)   Event Details Day : May 11th, 2025 Time : 11:30 PM - 5:00 PM Location : Tulum Rooftop Bar & Restaurant at W Miami, 485 Brickell Ave, Miami, FL 33131 Other : LIVE Entertainment from a violinist from 1PM-4PM Guests must be 21+ to consume alcohol. Book now: MOMosa Sunday Brunch with KENDRA SCOTT By ML Staff. Photos/W Miami