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Part of: Archive Television Treasures Presented by the UCLA Film & Television Archive and made possible by the John H. Mitchell Television Programming Endowment Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Several years before William Shatner first took the conn of the U.S.S. Enterprise on Star Trek, the beloved icon starred as a space crew leader in Arch Obler's television adaptation of his Broadway play “The Night of the Auk.” Obler's apocalyptic tale concerns the fateful actions of an extremely wealthy, egotistical industrialist (played by William Shatner) who finances a pioneering space flight for the U.S. government. As a member of the historic space crew, the industrialist’s malignant narcissism emerges under the allure of the media spotlight, triggering an escalating cascade of horrific events. The claustrophobic videotaped production, set entirely on the bridge of a spacecraft, provides a master showcase for Shatner, foreshadowing the trademark acting style he would soon perfect in the role of his lifetime as Captain James T. Kirk. Based on his drama “Rocket From Manhattan,” produced for the radio program Lights Out in 1945, Obler’s artful teleplay for “Night of the Auk” poetically examines the existential dangers of the space age amidst the backdrop of nuclear proliferation that defined the Cold War. Viewed 65 years after its original broadcast, this rare Play of the Week production proves eerily prescient, serving as a grim cautionary tale warning of the undue privilege, power and attention bestowed upon the ultra-wealthy, regardless of deficits of character. —John H. Mitchell Television Curator Mark Quigley Play of the Week: “Night of the Auk” U.S., 5/2/1960 DCP, b&w, 120 min. Syndicated. Production: National Television Associates. Executive Producer: Worthington Miner. Producer: Lewis Freedman. Directors: Nikos Psacharopoulos, Mel London. Writer: Arch Oboler. With: William Shatner, Shepperd Strudwick, James MacArthur. Preserved by the UCLA Film & Television Archive. Video transfer at DC Video. Engineering services by David Crosthwait. Location: Billy Wilder Theater

Free collaborative workshops, presented with 826LA, combine writing with creative activities for groups of up to 20 students. Recommended for ages 8–14. Reservations encouraged. Visit 826la.org or call 310-915-0200. What if a poem could be more than imagery or fun metaphors—what if it could be a letter to someone (or something)? In this dynamic workshop, students will explore epistolary poetry, a powerful form of writing that blends storytelling, emotion, and personal reflection. Led by Los Angeles-based writer, arts administrator, and feminista, Ariadne Makridakis Arroyo. Location: hammer museum

Part of: The Devil Finds Work: James Baldwin’s Cinema of the Mind Presented by the UCLA Film & Television Archive In-person: Live reading of an excerpt from “The Devil Finds Work” by author Roxane Gay following the screening. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. A Tale of Two Cities U.S., 1936 In this sweeping 1935 adaptation of Charles Dickens’ novel of the same name, Ronald Colman stars as Sydney Carton, a disillusioned lawyer who makes a redemptive sacrifice during the French Revolution. James Baldwin read the novel numerous times before his teacher Bill Miller took him to see the film. He was haunted by its final scene, an image he would carry with him for life.—Public Programmer Beandrea July DCP, b&w, 123 min. Director: Jack Conway. Screenwriters: W. P. Lipscomb, S. N. Behrman. With: Ronald Colman, Elizabeth Allan. Location: Billy Wilder Theater

The Henry J. Bruman Summer Chamber Music Festival was founded in 1988 to introduce new audiences to chamber music at informal concerts on the UCLA campus. All concerts are free of charge, and no reservations are required. The first concert in this year's festival features Webern Quartet, comprised of Benjamin Hoffman (violin), Chiai Tadjima (violin), Alex Granger (viola), and Stella Cho (cello). The concert will be held in person in Lani Hall inside the Schoenberg Music Building on the UCLA campus, and also livestreamed on the Center’s YouTube channel. Full details, including program and ensemble biographies, are available on our website. The festival is made possible by the Henry J. Bruman Trust, Professors Wendell E. Jeffrey and Bernice M. Wenzel, by a gift in memory of Raymond E. Johnson, and with the support of the UCLA Center for 17th-& 18th-Century Studies. Location: Lani Hall, 445 Charles E. Young Dr East, 2526 Schoenberg Music Building

UCLA F-1 visa students, do you want to know more about off-campus employment authorization? Join us on one of our weekly OPT webinars hosted by the Dashew Center staff to learn more! Location: https://ucla.zoom.us/j/98199114498

This workshop will provide concrete strategies and online tools to enable non-native speakers of English to improve their writing and editing process, check grammatical issues, make appropriate vocabulary choices and approach issues like article and preposition usage in their own writing projects.

Join Ariel Osterweis, Ph.D., Professor of Critical Dance Studies and Performance Studies at CalArts, for an exhibition tour of Performance on Paper. Capacity is limited. Visitors will be admitted on a first-come, first-served basis. Location: hammer museum

The Henry J. Bruman Summer Chamber Music Festival was founded in 1988 to introduce new audiences to chamber music at informal concerts on the UCLA campus. All concerts are free of charge, and no reservations are required. The second concert in this year's festival features Strings and Keys: A University of Utah Faculty Recital, comprised of Michael Kaufmann (cello) and Steven Vanhauwaert (piano). The concert will be held in person in Lani Hall inside the Schoenberg Music Building on the UCLA campus, and also livestreamed on the Center’s YouTube channel. Full details, including program and ensemble biographies, are available on our website. The festival is made possible by the Henry J. Bruman Trust, Professors Wendell E. Jeffrey and Bernice M. Wenzel, by a gift in memory of Raymond E. Johnson, and with the support of the UCLA Center for 17th-& 18th-Century Studies. Location: Lani Hall, 445 Charles E. Young Dr East, 2526 Schoenberg Music Building

See live concerts in the Hammer’s courtyard for free! Enjoy happy hour, late gallery hours, art-making, and more. Doors open at 6:30 p.m. and performances start at 7:30 p.m. Cocktails and food available for purchase all night. This event is free and open to the public. Become a member today for priority entry and a free first drink. Your RSVP helps us to gauge attendance to this event. RSVP does not guarantee entry if the event reaches capacity. Admission is granted on a first-come, first-served basis. Location: Hammer Museum, 10899 Wilshire Blvd, Los Angeles, CA 90024

The University of California requires that all students have health insurance. UCLA assesses all students for a UCSHIP policy to ensure adequate coverage. Have your own health insurance plan? Learn more about how to waive out and receive a credit to your BruinBill. More information is available on The Ashe Center Insurance Office website. Location: Arthur Ashe Student Health & Wellness Center Insurance Office

Don't wait until it's too late! Join the next cohort of fellows today. For more information and application visit: https://usp.ucla.edu/financial-support/undocu-fellowship

Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Nashville U.S., 1975 Robert Altman had never been to Nashville when he asked screenwriter Joan Tewkesbury (Thieves Like Us) to go there and keep a travel diary as the basis for a “panorama which reflected America and its politics.” The masterful mashup that emerged from Tewkesbury’s experiences, deft on set improvisation and Altman’s feel for the times captures the moment when America’s political and celebrity cultures began to merge. The hustle for fame and votes run parallel across a homespun tapestry of stories that culminate in a (still) shocking act of violence. Spared from the satire peppered throughout, however, is an artistry unadorned and sincere, its fleeting beauty exemplified when Ronee Blakley sings.—Senior Public Programmer Paul Malcolm DCP, color, 160 min. Director: Robert Altman. Screenwriter: Joan Tewkesbury. With: Ronee Blakley, Henry Gibson, Lily Tomlin. Location: Billy Wilder Theater

Are you an undocumented UCLA student or alumni/recent graduate ready to launch a business or side hustle? The UndocuStartup™ Bootcamp is a one-day, in-person experience where you’ll go from idea to pitch, and even get your first client using practical tools, and teamwork. Apply Today: https://forms.gle/jozwQa7Ho8vTd2hZ7 Applications are due July 25 at 11:59 PM PST Location: RSVP for Location

Part of: Archive Talks Presented by the UCLA Film & Television Archive In-person: Q&A with Mayukh Sen, author of "Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star," moderated by film programmer Miriam Bale. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Archive Talks pairs leading historians and scholars with screenings of the moving image media that is the focus of their writing and research. Each program will begin with a special talk by the invited scholar that will introduce audiences to new insights, interpretations and contexts for the films and media being screened. Dark Waters U.S., 1944 After her ship is sunk in the Pacific, a young woman fleeing war wakes in the hospital from a fever dream, distraught, despairing, alone in the world. Undoubtedly, star Merle Oberon could identify with the sense of alienation and anxiety that explodes from her character in the opening moments of director André de Toth’s Southern gothic thriller. Oberon forged a unique Hollywood career that included an early Oscar nomination for her performance in The Dark Angel (1935) and masterful turns in such classics as William Wyler’s These Three (1936) and Wuthering Heights (1939), all while concealing her identity as an Anglo Indian woman born in Bombay (now Mumbai). Identity is at the center of Dark Waters with Oberon’s desperate refugee finding safe harbor in the arms of distant relatives living on a Louisiana plantation where nothing and no one are what they seem. Moody and swirling with menace, de Toth’s swampy noir, with a suspenseful script by Marian Cockrell and Joan Harrison, is a deep cut in Oberon’s starry filmography but one that finds her working at the peak of her powers. The Archive is pleased to present Dark Waters with Mayukh Sen, author of the new biography Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star, who will give a brief talk before the film and after, will join film programmer and critic Miriam Bale in conversation.—Senior Public Programmer Paul Malcolm 35mm, b&w, 90 min. Director: André de Toth. Screenwriters: Marian Cockrell, Joan Harrison. With: Merle Oberon, Franchot Tone, Thomas Mitchell. Location: Billy Wilder Theater