Kawhi Leonard scored 29 points, Bennedict Mathurin scored 23 against the team that traded him last month, and the Clippers won their third in a row, 130-107 over the Indiana Pacers on Wednesday night at Intuit Dome.
Brook Lopez had 17 points for the Clippers while Darius Garland had 12 in his first home game since being acquired from the Cleveland Cavaliers last month. He and Mathurin, who made eight of 11 shots, provided an effective backcourt off the bench, and center Isaiah Jackson added 10 points, four rebounds and three blocks against his old team as well.
The only negative on the night was when rookie center Yanic Konan Niederhauser was helped to the locker room after he suffered a right foot injury. He didn’t return. The Clippers said he’d undergo further evaluation and won’t join them for a two-game trip.
Pascal Siakam had 29 points in his return after sitting out three games because of a left wrist sprain to lead Indiana, but the Pacers lost their seventh in a row and fell to the bottom of the Eastern Conference with a 15-47 record.
Jay Huff had 18 points and was four for eight on three-pointers, and Jarace Walker added 17 points.
The Clippers (30-31) led 42-25 after one quarter and 63-51 at halftime, with Leonard racking up 20 points. The Clippers pulled away with a 16-2 run in the third quarter to extend a seven-point lead to 21.
The Clippers shot 55.1% to the Pacers’ 42.9% as L.A. pulled within a game of .500 for the second time since recovering from a 6-21 start. The Clippers play at San Antonio on Friday and at Memphis on Saturday.
Norchad Omier, a 6-foot-7 forward on a two-way contract, became the first Nicaraguan to score in the NBA, according to the Clippers, when he made a late jump hook in the lane.
Israel, Iran, ICE, dyslexia, single moms and a pet otter named Potter were among the subjects discussed Tuesday evening at California Gov. Gavin Newsom’s tour stop in Los Angeles to promote his new book, “Young Man in a Hurry: A Memoir of Discovery.”
Speaking to a sold-out crowd of around 1,300 at L.A.’s historic Wilshire Ebell Theatre, the hourlong Q&A hosted by Writers Bloc and moderated by “Pod Save America” hosts John Favreau and Tommy Vietor was equal parts a get-to-know-the-man-behind-the-mask chat and a timely discussion about challenges facing the country.
The engaging discussion was clearly geared toward dispelling the image of Newsom as “that slick guy” (his own words), by covering his journey from an insecure, cocky young man trying to impress those around him to an adult who, through his successes and follies, has become comfortable in his own skin.
Gov. Gavin Newsom and moderators Jon Favreau and Tommy Vietor promoting Newsom’s new book, “Young Man in a Hurry.”
(Ronaldo Bolanos / Los Angeles Times)
He described his young, pre-politician self as posing in a suit: “I was thinking I was Pierce Brosnan in ‘Remington Steele.’ I just discovered hair gel,” Newsom joked. He said in those early years he was often overcompensating for his own feelings of inadequacy as the son of a single mom who struggled to pay the rent. As a kid with learning differences, whose undiagnosed dyslexia put him behind in school. Whose “broke and broken” father neglected his family while hobnobbing with wealthy San Francisco families, including the heirs of the Getty oil fortune.
A chatty, relaxed and sometimes free-associating Newsom rarely needed prompting from the moderators when speaking about his childhood, his family’s strange choice of pet (the aforementioned otter) or far more serious matters. He said that Democrats need to “fight fire with fire” and be more “ruthless” in their fight to win back the country.
Newsom’s politician-speak was evident in some of his more rehearsed efforts to convince the crowd that he’s a regular guy (he may not have changed many diapers with his first daughter, but he got better at his dad duties with his next three kids). But those instances were matched by unvarnished comments that appeared genuine, and risked alienating some of his base.
One such instance came early in the conversation, when Newsom was asked about where he stood on President Trump’s new Iran war, and the administration’s changing rationales on why it launched the military operation without consulting Congress.
“[The Trump administration’s] first rationale was we’ve got to make sure that they’re not armed with nuclear [weapons]. But I thought that was resolved, that we had completely ‘obliterated’ it,” Newsom said, using Trump’s claims against him. “Then maybe that wasn’t the case, so now it’s about their missiles, and they can perhaps hit the United States, and then it’s wait, that’s a decade plus away. So that’s BS. Then it’s about their militias, it’s about their proxy. Then it’s no, it’s about their navy. And then no, it’s a response to the likelihood that Israel was going to [go in] so we had to go in ourselves. God help us … this is Keystone Cops.”
Newsom was then asked if the United States should perhaps consider rethinking its military support for Israel, and he said that would be reasonable.
“The issue of Bibi [Israeli Prime Minister Benjamin Netanyahu] is interesting because he’s got his own domestic issues,” Newsom said. “He’s trying to stay out of jail. He’s got an election coming up. I mean, to say this is in America’s interest, at a time when affordability is at crisis levels, where you had an administration who literally got elected saying this is exactly the opposite of what they would ever consider doing. The fact that we are in this now, regional war.…”
He also said Netanyahu was “potentially on the ropes. He’s got folks, the hard line, that want to annex the West Bank.” Newsom suggested that some critics have “appropriately” described Israel as sort of an “apartheid state.” His comments caused a stir Wednesday from pro-Israel advocates who felt Newsom was turning on their interests.
But most of the conversation was about the book, and domestic issues. Newsom has been a fierce critic of Trump and his policies, positioning himself as part of the resistance, one of the few high-profile leaders to hit back with policy (Proposition 50) and a strong media presence with his podcast, “This is Gavin Newsom,” and his Trump-trolling social media accounts.
“Nothing goes to the heart of who [Donald Trump] is than his press conference yesterday, where he was lamenting [that] four Americans had died,” Newsom said. “He mentioned them in passing. And then went on, in great detail, about the drapes and the Imperial Palace in the East Wing [of the White House] that he’s building. He talked about [it] with real passion and conviction. It says everything about Donald Trump, the uncertainty in the world, to the fact that we have allies under threat, UAE, we’ve got proxy war with, once again, with Hezbollah and Lebanon. We’ve got all the anxiety as relates to 20% of the world’s oil flow, issues related to oil prices and stocks.”
Though Newsom was speaking to an auditorium of blue state supporters, his tour kicked off last week in the South, with stops in Georgia, Tennessee and South Carolina. His efforts to relate to his audience were seized upon when, during a conversation with Atlanta Mayor Andre Dickens, he addressed the audience, saying, “I’m like you,” before bringing up his low SAT scores. He was called out for his comment, which was labeled as racist by critics, particularly those from right leaning media outlets.
In Los Angeles on Tuesday, he was asked how he felt about the California Democratic Party chair’s recent suggestion that some party candidates drop out of the governor’s race, to avoid a Republican potentially winning. “I confess. I agree. With all the promise and peril that marks this moment in California, the most un-Trump state in America,” we can’t risk a Republican winning, he said.
The California Highway Patrol and a private security firm deployed officers and agents around the venue for a tight security presence (no bags or purses allowed). On at least three occasions, one or more protesters interrupted the discussion with shouts from the balcony and floor seats, demanding Newsom do something about privatized prisons and the ICE sweeps of immigrants.
After they were removed by security, Newsom said he understood the “escalation of stress” over the last ten years or so, and defended his record, mentioning he signed the first bill banning private prisons and was a “fierce opponent” of what’s happening on American streets.
Attendees of the event applauded Newsom’s record, and just about everything else he said. They were, after all, folks who had paid up to $80 a seat to hear the conversation and receive a copy of his book. He walked into the crowd afterward and spent nearly a half hour chatting with audience members, posing for selfies and signing copies of his memoir. Newsom was not in a hurry.
The head of the Los Angeles Department of Water and Power stepped down Wednesday as part of a “planned leadership transition,” Mayor Karen Bass’ office announced.
Janisse Quiñones, who took the helm at DWP in 2024, is returning to Puerto Rico, where she is from, to help modernize the island’s electric grid.
In a statement, Bass said that Quiñones brought “steady leadership and engineering expertise to LADWP.”
“During her tenure, LADWP reinforced electric grid and water system reliability, enhanced coordination during wildfire events, and advanced investments to strengthen resilience amid increasing climate pressures,” the statement said.
Quiñones’ hefty salary of $750,000, which drew attention when she was hired, was meant to be competitive with private utility companies. She previously was a senior vice president of electric operations at Pacific Gas & Electric Co.
Quiñones managed the DWP through the Palisades fire, when a key reservoir was empty as firefighters battled the blaze.
Some argued that the reservoir, which had been drained to repair its cover, led to lower water pressure and hampered the firefight.
The DWP has pushed back, saying the repairs were necessary to protect public health and that even if the reservoir had been full, there still would have been water pressure issues, considering the extraordinary demand on the system during the fire.
A state investigation found that even if the reservoir had been full, the flow rate in the pipes “would have been a limiting factor in maintaining pressure and the system would have been quickly overwhelmed.”
Los Angeles has a secret magic to which you have to earn access, and the way you earn it is by making it, becoming a contributor to the city’s misapprehended culture of spectacle and soul, diversity and monolithic elitism. It’s a get-in-where-you-fit-in or get-edged-all-the-way-out kind of city, wherein a deceptively laissez-faire game of musical chairs can determine your fate. Kahlil Joseph has a private magic to which you have to earn access, and you earn it by resonating with the untapped nerve centers of Black culture that animate this city, and even then you might be denied.
Joseph is like the city (Los Angeles, not Hollywood), and the city enforces confidentiality, drive, wit, style and devotion often mistaken for diva-ism. The filmmaker and video artist moved to Los Angeles from Seattle for university, and was quickly followed by his brother, the painter Noah Davis, who would found the Underground Museum, a venue and near-speakeasy with West Coast casual gravitas and pan-African rigor and breadth, which became as important to the zeitgeist of Black Los Angeles as both brothers have.
Movie still from Kahlil Joseph’s film “Blknws: Terms & Conditions.” Funmilayo Akechukwu (Kaneza Schaal) channels a 93-year-old W.E.B Dubois, 200 years in the past.
In somewhat rapid succession, Joseph lost his father, Keven Davis, an accomplished attorney who represented the likes of the Williams sisters and Wynton Marsalis, in 2012, and his brother Noah in 2015. Joseph navigated those years in the wake with unadorned reverence, while starting a family of his own and directing some of the most transcendent music videos of the 2010s. As testament to his resilience and that of the community around him, grief sharpened Joseph’s purpose and became a kind of grace he transmuted into moving images so saturated with feeling, sans easy pathos, they offered new ways of seeing. The stakes were higher and layered with the existential absurdity of abrupt shifts, which he carried with an elegant, slightly seething temperament that has found its expression in the work. It’s relevant that he shares a birthday with Miles Davis — this is Los Angeles, where it’s customary for a person to request your cosmic DNA before asking your name — and it’s relevant that like Miles, Joseph’s vocal tone is whisper-pitched, toward the mode of retreat that begets echo; you lean in and hear him twice. His quiet tone is not shyness or false modesty but circumspection and a sense of boundaries that imply respect and love for real communication. You sense this in his work ethic and what it produces, an intimacy of form that implies an almost ritualistic attentiveness to the world around him on its own terms. In the 2012 Flying Lotus music video “Until the Quiet Comes,” directed by Joseph and set in Los Angeles, death and rebirth are addressed as a duet, companions in the expansion of collective consciousness instead of foils or adversaries, as a fallen child leaves his body and returns more alive than before he was bloodied on screen. And the violent scenes aren’t grotesque or didactic — think of Miles’ muted trumpet sound reconfigured as resurrection visuals, of his ability to play and stage ballads so well that their uptempo momentum moves into territories too macabre to mute. Like Miles, Joseph tests and stretches his range.
With the closure of the family-run Underground Museum, first in 2020 and then officially in 2022, the path uptempo was visited by more obstacles and disappointments, a shift, if temporary, in Joseph’s role in the local community, as he became more private and distant from public elegy. On the phone recently, Joseph and I discussed the trauma economy, how much of a trap it is for Black art and artists, especially in this post-BLM, post-Obama, post-neoliberal dominance, post-nonprofit industrial complex dominance territory we’re all in now, whether we face it or not. As antidote and balm to the market for repackaged abjection, Joseph adapted the sensibility that makes his music video landscapes so lush and transgressive for the art world with “Blknws,” which debuted in 2019 as an imagined syndication or television network, a nonlinear merger of digitized Black archival material pulled from the center to the margins and the radical academic avant-garde — an infinitely looping ensemble wherein Fred Moten enters into conversation with memes of ghetto-fabulous street gymnasts doing backflips into a fried chicken spot, for example, collapsing so-called high and low into an endless woodshed for an impossible concert.
The result was so compelling that the project was commissioned by A24 as a feature film sans script, then purchased from them by Rich Spirit and released last year as “Blknws: Terms & Conditions.” In this longer and more structured form, what began as an intentional scattering of ashes becomes an elegiac letter home mediated by shipwreck. Joseph weaves together an imaginary “Transatlantic Biennial” and W.E.B. Dubois’ “Encyclopedia Africana” — a project that Henry Louis Gates Jr. and Kwame Anthony Appiah transformed into a book, which Joseph’s father had given his brother before they passed. In this way, the film becomes a manifesto for alternate destinies within the Black experience, and a semi-formal goodbye letter to the delusional but politically expedient optimism of the 2010s, wherein the end of the neoliberal order becomes a gateway to renewed self-possession and agency. Since our grief is less of a ready-made commodity lately, we can reorient it around ourselves, a little safer and more sovereign from the gnawing public gaze. And we can be more honest about its paces and paths in that more autonomous landscape. “Blknws” arrives how a successful jazz album does, belligerently inconclusive about the next stylistic leaps the music might make but clearly in the process of launching in that unknown or unspeakable (perhaps secret) direction. The film is agitation made vivid and precise in the dialectic between theorized “Black Study” and practical applications of Black marronage, where we realize that big disembodied ideas are no more sophisticated than what can be danced and gestured at and spoken in our real and virtual conversations. Here, the multiverse becomes one transcendental, transatlantic consciousness where past and present, life and afterlife, blur the way they do in Joseph’s interpretation of “Until The Quiet Comes” to give us a film with a song-like hook and an album’s non-sequitur whimsy.
Movie still from Kahlil Joseph’s film “Blknws: Terms & Conditions.” The underwater study of Funmilayo Akechukwu (Kaneza Schaal) located in the hold of the ship.
Over the last several months, I’ve discussed with Joseph what might become of the momentum propelling “Blknws: Terms & Conditions,” after the film’s run, as speculators enclose searching for clues and stake in his next project. He’s considered its potential evolution into a media company, a real paper, a production house, a series of related films, or a hybrid of all of these endeavors. Alongside his experience on all sides of the art world, he has an acute awareness of the wayward state of print and digital culture, writing and production, the constant closure or downsizing of veteran media outlets, the aftermath of diversity fever in the form of shrinking major magazines often starting with those who cover culture explicitly, the mass turn toward brand-name digital platforms that become extractive monopolies and diminish what can be covered and produced as writers and artists are overworked, understaffed and undervalued. Galleries are also closing and downsizing, and films that don’t oblige the content farm aren’t solicited as readily as influencer-helmed or easily digestible projects that can be played as background noise for scrolling.
After a screening last December of “Blknws: Terms & Conditions” at 2220 Arts + Archives, a space I co-curate, the rapt audience of local cinephiles seemed eager for some magic-bullet insight into Joseph’s path to creative breakthrough and relative creative freedom. Rather than hacks and shortcuts, he shouted out collaborators and inspirations — Wales Bonner, who hand-stitched garments for the film’s Ghana-based scenes; British composer Klein, who helped score the film; Joseph’s time in Brazil, where his father was from and where he went to high school. Sensibility and natural eclecticism, rather than unchecked ambition, is what propels Joseph; he has an innate knack for assembling bands and ensembles, good taste and good timing.
Kahlil Joseph with friends at the screening of “Blknws: Terms & Conditions.”
“I found the encyclopedia at the Underground,” he explains, of the DuBois work that became central to “Blknws.” “It seemed no one had looked through it, as if my dad and brother left it for me in the future.” And instead of ruminating on the weight of that inheritance, he integrates it into his film, whose refrain-as-question is do you remember the future? As if his father and brother are awake in some scenes, asking him to remember. Another resurrection. “I just want to make films,” Joseph reaffirms as a personal coda when the questions get too meta or abstract, never conflating the material conditions of the craft with the magical thinking that can unfold in scripts and on screen. Most everyone in attendance at 2220 seemed to be there to meet or support one of their favorite artists, one of the devout purists of our time who manages to remain that without getting smug, lazy or feral, all common pitfalls.
Last October, I gave Joseph a copy of Hemingway’s “A Moveable Feast,” which I’d just finished reading myself for the first time. I was impressed to the point of restlessness with the authority of Hemingway’s memory, his recall; it’s one of those books you wanna throw at the wall and absorb word for word at the same time. Hemingway seemed to effortlessly savor and store every detail of his days, while remaining agile and present enough within them to focus on writing one true thing after another, in his daily sessions at the typewriter, as if possessing two coterminal minds and the capacity to access or silence both at will. A juggler too advanced for the circus, language’s great folk hero. Joseph is kind of like this, capable of intense simultaneous focus on both creative and mundane tasks without complaint, and he took to the book as I expected he might, sharing my sense of awe over the writer’s command of time and scene. They are both among the artists who have a polite way of making those around them feel like a team and want to work a little harder and little less aggressively (more communally) at the same time. Editors at his post-production studio have come from all over the country to work with him based on that leadership.
Joseph’s next feature, he suggests, will certainly be more narrative, more of a linear beginning-middle-end story, more Hemingway-esque in its commitments to the blunt daily reality that “Blknws” blurs with Black myth. He and his family have sacrificed unquantifiably in effort to defy stale archetypes and outdated patterns of art practice, and it might be his time or turn to be reciprocated for having endured those risks, time to give his family unequivocal and vivid afterlives on and off screen.
A cause of death has been determined for Martin Short’s daughter Katherine, who took her own life in February.
She died Feb. 23 from a gunshot wound to the head, according to the Los Angeles County medical examiner’s database, which listed her case under her legal name, Katherine Hartley.
Her death was confirmed by her family in a statement to The Times two days later.
“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”
The 42-year-old was the eldest of three children adopted by the “Only Murders in the Building” star and his wife, actor Nancy Dolman. Dolman died of ovarian cancer in 2010, 30 years after marrying her husband. Martin Short’s sons are Oliver and Henry.
Hartley, whose body was found at her Hollywood Hills home by L.A. County Fire Department paramedics, legally applied for a name change in 2012 because of her famous father’s public persona.
“My father is a public figure. I am a social worker. I am concerned about potential harassment from future patients resulting from my association with my father,” she wrote in her name-change application, which was filed in October 2012 and approved Jan. 25, 2013.
After obtaining a bachelor’s degree in psychology and gender studies from NYU in 2006, she followed up with a master’s in social work from USC in 2010, People reported. In addition to having a private practice, she worked part time at Amae Health, a Los Angeles clinic providing mental health and psychiatric care, the outlet said. Suicide attempts and ideation are among the conditions the clinic says it specializes in treating.
The death certificate for Katherine Elizabeth Hartley, which was obtained by TMZ, includes a field denoting how the injury occurred. It reads, “shot herself.” According to the outlet, a note was found at the scene.
Times staff writer Malia Mendez contributed to this report.
Suicide prevention and crisis counseling resources
If you or someone you know is struggling with suicidal thoughts, seek help from a professional and call 9-8-8. The United States’ first nationwide three-digit mental health crisis hotline 988 will connect callers with trained mental health counselors. Text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
Welcome to the Lakers newsletter, where we dive into the noise surrounding them and how they are trying to ignore it and where we get to see the softer side of LeBron James when it comes to his daughter, Zhuri.
The noise has become deafening amid an uneven stretch of play as the Lakers head toward the final drive of the NBA season.
All things Lakers, all the time.
The noise has only grown as the Lakers search for their consistency and cohesion so late in a season.
Injuries have played a part in their up-and-down play, but so has their subpar play at times.
They are 3-3 since the All-Star break, having lost three consecutive games at one point during this period.
They were ranked 17th in the league in defensive rating (114.2) during this stretch, which is in line with their defensive rating for the season that’s near the bottom at 22 (116.3).
Perhaps the best way to describe these Lakers was provided by Rui Hachimura.
“I think when we play good, like really good, we [are] looking like a championship team, you know,” Hachimura said. “But when we [are] not, like we have a lot of time that we [are] not, then we look like we’re just literally [an] out-of-a-playoff team…At the time we have to kind of have to focus. It’s a long season, you know, it’s just a long season.
“We have a lot of injured guys, in and out, so we have a different rotation, different kind of starting lineup, whatever. But I think we have to focus on that part. We have to play together, playing hard, and those are gonna be really good for us. Staying consistent and we can look like a championship team all the time.”
It’s just that when the Lakers lose games, they lose big, by wide margins, and that has made the noise grow.
In the last few days, coach JJ Redick has used the phrase, “the world is falling for us 19 times,” when they have lost.
Redick is referring to how those 19 losses have been by double digits, the latest a 22-point spanking by the Boston Celtics last week that started the Lakers on a three-game skid. They have lost 24 games on the season.
“We haven’t had the consistent level of effort and execution,” Redick said. “That’s kind of been the thing all season [is] to really establish that identity. But I’m confident we will.”
The Lakers have 22 games left to find it.
They are sixth in the Western Conference and are looking to move up.
“Obviously we didn’t start good [out of the All-Star break], but nothing is over,” Luka Doncic said. “We just got to keep bringing the mindset of trying to win every game.”
Girl’s Dad
LeBron James with his daughter, Zhuri, eight years ago.
(Steven Vlasic / Getty Images)
He was simply a girl’s dad spending time with his daughter at his place of work, all part of a family outing in the San Francisco area.
When LeBron James finished his pregame routine before the Lakers played the Golden State Warriors on Saturday at Chase Center, his 11-year-old daughter, Zhuri, joined him on the court.
She stood at the free-throw line and tossed up an overhead shot that banked in for a basket. The crowd watching applauded, drawing a smile from dad and daughter.
Zhuri capped her time with dad by throwing a lob pass that James dunked while hanging on the rim. The two did their own handshake.
After the game, James beamed talking about spending time with Zhuri. He talked about taking her to Alcatraz, the Golden Gate Bridge and having dinner Friday night.
“I miss a lot of moments spending time with my kids because of my career. Over the course of my career, any time I got moments with them either individually, two of them, three of them all together, whatever the case may be, it’s always special for me,” James said.
“So, to have my daughter want to come on the road and and be with me [is special]. And spent a lot of time yesterday. We went to Alcatraz. She wanted to go to Alcatraz. We saw Alcatraz, saw the Golden Gate Bridge, we went to dinner last night. So, I spent a lot of time. It was pretty cool. It was awesome.”
Zhuri plays volleyball, but she displayed some deft handles while dribbling the basketball.
But make no mistake, James said, she is a volleyball player through and through. Besides, James said, wife Savannah already has a husband who plays for the Lakers, son, Bronny, who plays for the Lakers and son, Bryce, redshirting on Arizona’s basketball team.
“She’s a volleyball player. Don’t get my wife mad. My wife is done with this basketball….” James said, laughing. “She’s done with it. She’s a volleyball player. But she’s been around the game for a while, so she does got good handles. She got a good form, too. But my wife ain’t playing that. Not another one. She said that’s it. That’s it.”
After they were done during their pregame activities, James and Zhuri walked off the court holding hands.
The girl’s dad beamed.
“It’s special. It’s special. It’s definitely softened me up over the last 11 years,” James said. “I had two boys to begin with, but getting a little girl 11 years ago, man, it’s definitely softened me up. So, it’s special to have her. You know, it’s a different type of love.
“If anybody got girls and boys, it’s a different type of love that you [share]. It’s tough love when it comes to my boys. I yell at them and stuff, whatever. They take it. They know how to approach it. It’s different. It’s a little softness with my daughter. So, it’s pretty cool.”
Besides All-Star games, James said it was the first time Zhuri had gone on a trip with him.
The Lakers beat the Warriors too.
“She’s a good luck charm,” James said.
Austin Reaves was sitting next to James in the locker room listening to James.
“She’s going to Denver,” Reaves said.
The Lakers play at Denver Thursday night.
“Uh don’t say that too loud, because she’ll definitely be like, ‘Dad, can I go to Denver?’” James said, smiling. “She already said, ‘When is the next road trip?’”
Redick has two boys, Knox, 11, and Kai, 9, and he can appreciate having that family time, especially when the Lakers spend so much time traveling and having games that take them away.
So, seeing Zhuri and James together was a moment Redick enjoyed.
“Yeah, Zhuri, she rode on the plane back just last night,” Redick said after the game Saturday night. “That was fun for her…[Lakers assistant coach] Scotty [Brooks] has talked a lot about this with me and a number of coaches have. It’s one of the greatest gifts we get. We get to expose our kids to this beautiful sport and this beautiful league.”
On Tap
Tuesday vs. Pelicans (19-43), 7:30 p.m.
Zion Williamson, who had played in his NBA-best 35 straight games, missed the Clippers game Sunday because of a right ankle injury and is listed as day to day.
Thursday at Denver (37-24), 7 p.m.
The Nuggets and Lakers are neck-and-neck for the fifth and sixth spots, respectively, in the West, with Denver at No. 5. All-Star center Nikola Jokic leads the NBA in triple-doubles with 24, averaging 28.8 points (sixth in the league), 12.6 rebounds (first) and 10.5 assists (first).
Friday vs. Indiana (15-46), 7:30 p.m.
The Pacers have the worst record in the Eastern Conference and are in the midst of a six-game losing streak.
Sunday vs. New York (39-22), 12:30 p.m.
Knicks All-Star guard Jalen Brunson is tied for ninth in the league in scoring (26.7). The Knicks are a very good defensive team, holding teams to 111.1 points per game, the fifth-best mark in the league.
Four days after the stunning news that Paramount Skydance would acquire Warner Bros. Discovery, Paramount executives tried to calm fears that the blockbuster deal would result in massive layoffs.
In a call Monday, Paramount Chief Strategy Officer and Chief Operating Officer Andy Gordon told Wall Street analysts that $6 billion in merger “synergies” would come from “non-labor sources” and not a “reduction in production capacity.”
Instead, Gordon said, the company would reduce costs by consolidating its streaming technology and cloud providers, finding marketing efficiencies and “optimizing the combined real estate footprint,” likely an allusion to widely anticipated plans that the new owners will consolidate operations around the Warner Bros. lot in Burbank.
Efficiencies aside, most Hollywood observers — including people who are familiar with Paramount Skydance Chief Executive David Ellison’s plans — predict that Paramount will be forced to make large-scale layoffs in order to offset the enormous costs of the mega-deal, which is valued at more than $111 billion (counting debt).
It’s a reasonable expectation, at least if history is any guide.
Many at Warner dread the kinds of cuts seen after Walt Disney Co. bought most of 21st Century Fox’s assets, resulting in thousands of layoffs as the two companies combined operations and shed redundant jobs.
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In the case of Warner-Paramount, the new company will have two film and TV studios, as well as two streaming businesses, two legal departments, two marketing departments and so on. It’s doubtful these overlapping functions will survive budget cuts.
Already, consolidation plans are underway.
This week Paramount announced it would combine the two streaming services — Paramount+ and HBO Max — to reach a total of more than 200 million subscribers and better compete against the behemoth Netflix, which boasts 325 million subscribers worldwide.
Ellison was full of praise for the HBO team on Monday’s analyst call, saying the premium service was a “crown jewel” and that it will “continue to have the resources and independence to do what it does best.”
He also reiterated that there is “no intention to pull back on production,” and that the company intends to make 30 films a year — 15 apiece from Paramount and Warner Bros.
“We have all the economic incentives to make sure that we grow this business and are going to invest in content to basically achieve those goals,” Ellison said Monday.
But this deal also includes $79 billion in net debt — a staggering load that overshadows even that of the merger that resulted in Warner Bros. Discovery. That amount became an albatross around that company’s neck and led to waves of layoffs.
“What everybody’s hoping is that the noise that’s being made around prioritizing content will hold true,” said Kevin Klowden, a Milken Institute fellow focused on entertainment and technology. “But until they see that happen, it’s really a question.”
Further job losses would be a blow to an industry that has been reeling from a steady drumbeat of job cuts fueled by media consolidation, dwindling streaming profits and the migration of film and TV jobs to cheaper states and countries.
Paramount executives have said the deal is expected to close in the fiscal third quarter of this year, and Ellison said he was “absolutely confident” they will meet that goal, based on conversations with regulators.
Despite support from the Trump administration, the acquisition is not yet final. Already, California Atty. Gen. Rob Bonta said he was in communication with other states’ attorneys general about challenging the merger on antitrust grounds, saying it wasn’t a “done deal.”
And on Monday, Rep. Sam Liccardo (D-San José), Sen. Elizabeth Warren (D-Mass.) and Sen. Richard Blumenthal (D-Conn.) called on Atty. Gen. Pam Bondi and White House Chief of Staff Susie Wiles to provide details of their conversations about the merger with Ellison and Netflix co-Chief Executive Ted Sarandos, highlighting the role of politics in the auction.
Paramount plans to keep the two studios separate for now, though company executives have discussed combining operations at the Warner Bros. Burbank lot at some point, according to sources close to Paramount who were not authorized to speak publicly. That could mean a wind down at the historic Paramount lot on Melrose Avenue — and more job losses.
The anxiety over looming cuts is especially deep inside Warner, where staff are still trying to process the news, according to people I spoke with. They noted that when Netflix was the winning bidder, co-Chief Executives Sarandos and Greg Peters came to the Burbank lot and spoke with several hundred of Warner’s senior leaders and outlined their plans, giving staff more clarity about a future under their ownership. No such conversations have occurred with the Paramount team, they said.
“I think genuinely, everyone’s nervous and a little uneasy,” said one Warner Bros. Discovery employee. “With the Netflix option, people had become a little more hopeful. But this outcome is a little more frightening for the staff.”
Stuff We Wrote
Film shoots
Number of the week
After 30 years, the Ghostface killer has still got it. Paramount Pictures and Spyglass Media Group’s “Scream 7” topped the box office this last weekend with $64.1 million in the U.S. and Canada, marking a franchise-best domestic opening. Globally, the film made $97.2 million.
The film centered on original franchise actors Neve Campbell and Courteney Cox, and featured numerous callbacks to the previous movies.
But the film’s debut did not come without controversy. Pro-Palestinian groups protested outside the “Scream 7” premiere on the Paramount lot last week and called for a boycott of the film after franchise star Melissa Barrera was fired more than two years ago for her comments on the Israel-Hamas war.
What I’m watching
On Sunday, I watched the UCLA women’s basketball team dominate USC in what I think is one of the best college rivalries out there (though I’m probably biased. Go Bruins!)
Ulysses Jenkins, the pioneering Los Angeles-born video artist whose avant-garde compositions embodied Black experimentalism, has died. He was 79.
Jenkins’ death was confirmed by his alma mater Otis College, where he studied under renowned painter and printmaker Charles White in the late 1970s and returned as an instructor years later. The Los Angeles art and design school shared a statement from the Charles White Archive, which said, “Jenkins had a profound impact on contemporary art and media practices.”
“A trailblazing figure in Black experimental video, he was widely recognized for works that used image, sound, and cultural iconography to examine representation, race, gender, ritual, history, and power,” the statement said.
A self-proclaimed “griot,” Jenkins throughout his decades-spanning career maintained an art practice grounded in the tradition of those West African oral historians who came before him. Through archival documentaries like “The Nomadics” and surrealist murals like “1848: Bandaide,” he leveraged alternative media to challenge Eurocentric representations of Black Americans in popular culture.
He was both an artist and a storyteller who sought to “reassert the history and the culture,” he told The Times in 2022. That year, the Hammer Museum presented Jenkins’ first major retrospective, “Ulysses Jenkins: Without Your Interpretation.”
“Early video art was about the problems with the media that we are still having today: the notions of truth,” Jenkins said. “To that extent, early video art was a construct that was anti-media … a critical analysis of the media that we were viewing every night.”
Born in 1946 to Los Angeles transplants from the South, Jenkins was ambivalent about the city, which offered his parents some refuge from the blatant systemic racism they encountered in their hometowns, but housed an entertainment industry that had long perpetuated anti-Black sentiment.
“What Hollywood represents, especially in my work, is the classic plantation mentality,” Jenkins told The Times in 1986. “Although people aren’t necessarily enslaved by it, people enslave themselves to it because they’re told how fantastic it is to help manifest these illusions for a corporate sponsor.”
Jenkins, who participated in a group of artists committed to spontaneous action called Studio Z, was naturally drawn to video art over Hollywood filmmaking. “I can address any issue and I don’t have to wait for [the studios’] big OK. I thought this was a land of freedom, and video allows me that freedom and opportunity that I can create for myself and at least feel that part of being an American,” he said.
Jenkins went on to deconstruct Hollywood’s vision of the Black diaspora in experimental video compositions including “Mass of Images,” which incorporates clips from D.W. Griffith’s notoriously racist “The Birth of a Nation,” and “Two-Tone Transfer,” which depicts, in Jenkins’ words, a “dreamscape in which the dreamer awakens to a visitation of three minstrels who tell the story of the development of African American stereotypes in the American entertainment industry.”
Jenkins’ legacy is not only artistic but institutional, with the luminary having held teaching appointments at UCSD and UCI, where he co-founded the digital filmmaking minor with fellow Southern California-based artists Bruce Yonemoto and Bryan Jackson.
As artist and educator Suzanne Lacy penned in her social media tribute to Jenkins, which showed him speaking to students at REDCAT in L.A., “he has been an important part of our histories here in Southern California as video and performance artists evolved their practices.”
WASHINGTON — President Trump on Monday refused to box himself in on how long U.S. military operations will last in Iran, saying the conflict in the Middle East could stretch from a month to potentially “far longer” as he frames the mission as one that is necessary to eliminate a “colossal threat” to American interests.
“Whatever the time is, it’s OK. Whatever it takes,” Trump said at a White House event. “Right from the beginning, we projected four to five weeks, but we have the capability to go far longer than that. We’ll do it.”
Hours earlier, Defense Secretary Pete Hegseth said the duration of the military operation remains fluid, and that Trump has “all the latitude in the world” to determine how long the war in Iran will go on.
“Four weeks, two weeks, six weeks. It could move up. It could move back,” Hegseth told reporters at a Pentagon news conference.
The Trump administration’s shifting time frames and open-ended objectives in Iran have deepened uncertainty around an expanding conflict in the Middle East, particularly as American troops have already been killed in action and officials warn of more U.S. casualties.
Gen. Dan Caine, the chairman of the Joint Chiefs of Staff, said Monday that additional U.S. military forces are already moving into the region, and warned that the conflict will not be a “single, overnight operation” and that he expects “additional losses.”
A fourth U.S. fatality
The development came as military officials confirmed a fourth American service member had been killed by Iranian counterattacks and that three American jets were mistakenly shot down in Kuwait in an “apparent friendly fire incident” — and as airstrikes continued to fall across the Middle East, where missile defense systems were unable to intercept every attack and deaths mounted into the hundreds.
As the U.S. and Israel continued to hammer Tehran and other targets across Iran and in Lebanon, retaliatory strikes by Iran and its allies, including Hezbollah in Lebanon, were reported in Israel as well as at U.S. facilities and other targets inside Bahrain, Cyprus, Iraq, Kuwait, Oman, Qatar, Saudi Arabia, Syria and the United Arab Emirates, according to the Associated Press.
Meanwhile, to Iran’s east, Pakistan and Afghanistan were engaged in their own battles, further destabilizing the region.
In addition to hundreds of people dead, including Iranian schoolchildren, other civilians and migrant workers in the Gulf, the fighting has impacted the world’s production of oil and natural gas — disrupting tanker traffic through the Strait of Hormuz at the southern end of the Persian Gulf and causing oil prices to shoot up.
Saudi Arabia said it intercepted Iranian drones attacking an oil refinery near Dammam, with the refinery shutting down as a precaution, the AP reported. Iran denied targeting the facility.
Air travel disrupted
The war also disrupted air traffic globally, as major airports in the Gulf, including in Dubai, halted or radically scaled back flights. The travel interruptions rippled around the world, and airline stocks tumbled.
Israel had implemented nationwide restrictions on activities as it fended off attacks from Iran and residents hid in bomb shelters. Iran reported strikes at multiple schools in the country had left young students dead.
As the conflict unfolds in real time, Trump and Hegseth have refused to rule out sending American troops into Iran, and the president has signaled that the “big wave” of military attacks is yet to come.
“I don’t have the yips with respect to boots on the ground. Like every president says, ‘There will be no boots on the ground.’ I don’t say it,” Trump told the New York Post on Monday. ”I say, ‘probably don’t need them,’ [or] ‘if they were necessary.’”
When asked by a reporter whether U.S. troops were currently on the ground, Hegseth told reporters they were not, but then bristled at further questions about potential future deployments.
“Why in the world would we tell you, the enemy or anybody, what we will do or will not do in pursuit of an objective?” Hegseth said.
The Trump administration’s objectives in the war have been equally hard to pinpoint. Trump said Saturday that the operation is aimed at razing Iran’s military and nuclear capability and dismantling Iran’s theocratic regime, but on Monday said the goal is to eliminate the threats posed by the “sick and sinister regime” but not the government itself.
Hegseth said the attacks in Iran are not part of a “so-called regime change war, but the regime sure did change and the world is better off for it today.” The U.S. and Israel attack on Saturday killed Iranian Supreme Leader Ayatollah Ali Khamenei.
‘Second or third place is dead’
In an interview with ABC News on Sunday evening, Trump suggested his administration had considered some figures to replace Khamenei, but said those people are now dead.
“The attack was so successful it knocked out most of the candidates,” Trump said. “It’s not going to be anybody that we were thinking of because they are all dead. Second or third place is dead.”
The Trump administration’s messaging, meanwhile, was consistent in its vengeful rhetoric.
Hegseth and Trump both warned that any threat to Americans would be met with force.
“If you kill Americans, if you threaten Americans anywhere on Earth, we will hunt you down without apology and without hesitation, we will kill you,” Hegseth said.
Kevan Harris, an associate professor of sociology who teaches courses on Iran and Middle East politics at the UCLA International Institute, said a long misconception in “the way the U.S. reads Iran” is the belief that Khamenei ruled the country alone, and that taking him out would create a massive leadership vacuum or a sharp shift in the nation’s policies.
But while Khamenei was certainly an “intransigent” force in Iran, killing him won’t “lead to a major shift inside the country,” Harris said.
Benjamin Radd, a political scientist and senior fellow at the UCLA Burkle Center for International Relations, said whether the U.S. can get out of Iran on a relatively short timeline depends on whether those in power in Iran now are willing to negotiate terms that Khamenei and other leaders who have been killed rejected.
“If the remnants of the regime are ideologically committed to what they were under Khamenei,” Radd said he “can’t see Trump backing down” and would expect the war to rage on.
Other leaders in Iran are fundamentalist and aligned with Khamenei, but given the U.S. has shown a willingness and ability to capture and assassinate foreign leaders, they might back down out of self-preservation.
“In the short term, there should be a wait-and-see approach as to what this reconstituted regime looks like,” he said.
Hi, and welcome to another edition of Prep Rally. I’m Eric Sondheimer. The state basketball playoff pairings are out, but let’s look back on quite a weekend of championship basketball.
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Sierra Canyon’s Jerzy Robinson drives against Ontario Christian’s Kaleena Smith in the first half of the Southern Section Open Division championship game.
(Steve Galluzzo / For The Times)
For the first time in the history of the Southern Section Open Division, one school swept the boys and girls titles: Sierra Canyon.
The girls final drew the largest individual game crowd at Toyota Arena, with Sierra Canyon and All-American Jerzy Robinson upsetting Ontario Christian and All-American Kaleena Smith 69-62. Robinson scored 32 points. Smith scored 30 points.
“What a battle,” Sierra Canyon coach Alicia Komaki said. “There were a lot of top players on that court.”
The duel between Robinson and Smith, however, was one to remember. The 5-foot-4 Smith was purposely being guarded by the 6-1 Robinson.
“Jerzy is an elite defender and can guard anybody,” Komaki said. “She was going to do whatever she could to win.”
Maxi Adams of Sierra Canyon rises to deliver a dunk against Harvard-Westlake in Open Division championship game.
(Steve Galluzzo)
In the boys final, heavily favored Sierra Canyon saw its lead drop to three points with 19.3 seconds left before prevailing over a stubborn Harvard-Westlake team 59-53. Here’s the report.
In Southern Section Division 1, Crean Lutheran held off JSerra. In Division 2, Bishop Amat routed Hesperia. Here’s the report.
Palisades’ OJ Popoola, right, grabs an offensive rebound during Palisades’ 75-56 win over Cleveland in the City Section Open Division championship game on Feb. 27, 2026.
(Steve Galluzzo / For The Times)
Palisades won the City Section Open Division boys title, the first upper division title for the Dolphins since 1969. Here’s the report.
State playoffs
The state basketball playoffs begin this week with regional action. The finals are March 13-14 at Golden 1 Center in Sacramento. Here’s the link to pairings.
Sierra Canyon received the No. 1 seed for boys and girls in the Open Division. The teams will host a doubleheader Saturday night, with the boys hosting the winner of Santa Margarita-Redondo Union and girls playing Sage Hills. Redondo Union was once considered to be the strongest challenger to Sierra Canyon but was upset in the Open Division playoffs. That matchup of two pressing teams would be quite interesting if Redondo Union can get past Santa Margarita.
Harvard-Westiake boys will host the winner of Sherman Oaks Notre Dame at Santa Maria St. Joseph on Saturday. The top girls game will take place Saturday matching Etiwanda at Ontario Christian.
Division 1 boys looks like a strong 16-team field with La Mirada seeded No. 1 and hosting Mater Dei on Tuesday.
Baseball
Star center fielder Anthony Murphy of Corona has added closing duties this season. The Panthers are 4-0.
(Nick Koza)
Last season, Corona had as its closer shortstop Billy Carlson, who became a first-round draft pick. This season, center fielder Anthony Murphy has taken over as a closer, throwing 92 mph fastball for the 4-0 Panthers.
Oaks Christian won the Easton tournament championship and is 5-0. The Sheffer brothers, Carson and Ryan, have been performing well.
Sherman Oaks Notre Dame is 4-0 and getting strong hitting from catcher Jacob Madrid, who had two home runs in a win over El Dorado. James Tronstein of Harvard-Westlake has seven hits in 10 at-bats.
El Segundo has several players off the 2023 El Segundo Little League championshp team making major contributions during its 4-0 start. Logan Brooks, the older brother of Loyola freshman Brody Brooks, has 10 RBIs.
No. 1-ranked Norco is 4-0 behind its two college-bound pitchers, Coral Williams and Parker May.
Oaks Christian has started 6-0 and picked up wins over Huntington Beach and Mater Dei last week.
1 am proud to announce that in my junior year l was able to beat my freshman year record by getting 19 strikeouts! This means so much to me because this game was mentally and physically tough, despite the situation I knew my team mates me needed so I continued to work hard! pic.twitter.com/eo7ykL27e7
Granada Hills, one of the top teams in the City Section, will be tested this week with games against Sierra Canyon and Oaks Christian.
Track and field
Servite’s 4 x 100 relay team ran the second-fast time in state history at 40.05 in a stunning display of speed for this early in the track season at the Mustang Roundup at Trabuco Hills. The team was made up of Jorden Wells, Benjamin Harris, Kamil Pelovello and Jace Wells.
Maximo Zavaleta of King ran the 3,200 in 9:07.81 and the 1,600 in 4:09.86. Harris won the 100 in 10.46. Pelovello ran the 200 in 21.19.
Rosary’s girls 4 x 100 relay team won in 45.96 seconds. Maliyah Collins, a sophomore at Rosary, won the 100 in 11.77 and the 200 in 24.13
Best individual mark of the day in California so far is Oak Hills junior Quran Clayton Jr. rocketing to a wind-legal 10.29 for 100 meters at the Saddle Up Invitational! That’s equal #9 in state history and the fastest ever in February!! OHHHH MYYYY!!!
El Camino Real’s boys soccer team celebrates winning the City Section Open Division title for a second consecutive season.
(Eliza Lotterstein)
Rivals El Camino Real and Birmingham had another dramatic City Section Open Division boys final, with El Camino Real winning on penalty kicks. Here’s the report. Cleveland won the girls Open Division championship over Granada Hills.
Mater Dei boys and Santa Margarita girls won Southern Section championships in the Open Division.
The regional playoffs begin Tuesday with the first state championships taking place March 13-14 in Sacramento.
To say the City Section soccer playoffs were a mess would be an understatement.
Six teams were removed from the playoffs via forfeits for having ineligible players who broke CIF rule 600 by playing in an outside competition during their season. The Southern Section had one school forfeit in its playoffs, Calabasas, in Division 3, allowing Los Alamitos to be named champion.
From 2011, longtime Crenshaw football coach Robert Garrett talks to De’Anthony Thomas, one of his best former players.
(Robert S. Helfman)
The mysterious absence of Crenshaw football coach Robert Garrett continues. The winningest coach in City Section history with 300 victories was put on administrative leave last August on the eve of the team’s season opener. March marks the eighth month of no action on his case. He sits at home, checks in on his computer, receives full pay and waits.
At the state wrestling championships, among the winners was Birmingham’s Slava Shahbazyan at 165 and two St. John Bosco wrestlers, Jesse Grajeda at144 pounds and Michael Romero at 150 pounds. Here’s the link to complete results. . . .
Chris Williams is the new football coach at Covina. He was head coach at Diamond Ranch. . . .
Ed Hematsiraki, 21, is the new boys basketball coach at Glendale High. . . .
Jeff Bailey is the new Head Football Coach & District’s Asst Director of Strength and Conditioning Coach at Beverly Hills High School. He was board approved and introduced tonight at their board meeting. This video was shown. pic.twitter.com/6nVex23JDe
Jeff Bailey has left Yorba Linda after 16 years as football coach and two Southern Section titles to become head coach at Beverly Hills, which was 0-9 last season. He’ll be making $205,000 a year. Here’s the report. . . . .
Scott Dodge is the new boys basketball coach at Godinez. . . .
Troy has opening for boys basketball coach. . . .
Will Burr is out at Harvard-Westlake after just one season as girls basketball coach. . . .
Anthony Jackson, who had a successful nine-year run as head football coach at Los Angeles High, is the new head coach at South East. . . .
Greg Fontenette has resigned as boys basketball coach at Valencia. . . .
VIDEO: Tara Davis-Woodhall, the amazing young woman and Olympic gold medalist with the multi-million-dollar smile put her money where that smile is, making a tremendous $100K donation to the @AHS_Chargers Agoura HS track and field program at today’s Tara Davis Invitational!… pic.twitter.com/fSMFesh9jb
Tara Davis-Woodhall, an Olympic track and field champion from Agoura who sponsored the school’s invitational Saturday, announced she was making a $100,000 donation to the track and field program. . . .
Freshman golfer William Hudson of St. John Bosco won the Servite Invitational. Here’s the report.
From the archives: Marques Johnson
One of the greatest former City Section high school basketball players, Marques Johnson, celebrated his 70th birthday with his annual dunk. The former Crenshaw High and UCLA player is a beloved basketball legend from Los Angeles. He has a daughter playing basketball for Windward.
His call on radio when UCLA’s Tyus Edney scored on a layup in 1995 during the Bruins’ title run and he yelled, “Yeah baby!” remains something UCLA fans never forget.
Recommendations
From ESPN, a story about the growing concern about street agents in the high school NIL business.
From SI.com, a story on a high school basketball team in Arizona being removed from the playoffs for racial taunts by its fans.
From the Daily Pilot, a story on Sage Hill girls basketball.
Tweets you might have missed
Former Loyola and Stanford kicker Conrad Ukropina is supposed to be on the next Bachelorette. Let’s see if he brings a tee somewhere.
Amalia Holgun, the last high school player from Kobe and Gigi’s Mambas basketball team, was honored with a concrete Kobe mural from the opposing Ontario Christian girls team.
Amalia has committed to the University of Texas where she will wear number 2. 🖤🤍 pic.twitter.com/BRQl7DxVWq
— Kobe Bryant Stories & Motivation (@kobehighlight) February 26, 2026
It’s true the ability to attend high schools with online classes no matter where you live is changing high school sports in California. Palisades basketball is on the verge of winning City title with several key players online outside of their main attendance area.
People in high school baseball still don’t get it. They celebrate a pitcher throwing 90 mph and giving up runs vs. a pitcher throwing 84 mph and giving up no runs. I’ll take the no runs guy every time.
Villeda was the Gatorade & CIF Player of the Year his senior season at Servite after leading the Friars to a Trinity League, CIF and Regional State Championship. He went on play 4 years at UCSB before turning pro. #credo#ForeverAFriarpic.twitter.com/bJaijEpSzL
Have a question, comment or something you’d like to see in a future Prep Rally newsletter? Email me at eric.sondheimer@latimes.com, and follow me on Twitter at @latsondheimer.
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Three years ago, as a 14-year-old freshman, Slava Shahbazyan made it to Bakersfield for the state wrestling championships.
“It was good to get experience that young,” he said.
Then came Saturday night when he had a breakthrough moment, winning the state 165-pound championship as a 17-year-old senior for Birmingham High.
“It means everything to me,” he said. “It took four years.”
Congratulations to Madison Black on an incredible achievement! Madison went undefeated this past weekend at the CIF State Wrestling Championships, capturing the 2026 state title at 130 pounds. Congratulations, State Champ! #PantherPride@vcsprepspic.twitter.com/TFDx3eB22V
Shahbazyan, who transferred from Chaminade after his sophomore year, is set to attend Stanford and still in the hunt to be valedictorian at Birmingham. Coach Jimmy Medeiros said he was close to winning last season before finishing fourth.
“He got a lot better,” Medeiros said.
Shahbazyan has been wrestling since he was 8. “My father loves wrestling,” he said.
Two St. John Bosco wrestlers, Jesse Grajeda at 144 pounds and Michael Romero at 150 pounds, also won state titles.
Kawhi Leonard scored 23 points, and the Clippers beat the New Orleans Pelicans 137-117 on Sunday night to end a three-game losing streak.
Ninth in the Western Conference, the Clippers improved to 28-31. The Pelicans are 13th in the West at 19-43.
New Orleans star Zion Williamson sat out after injuring his right ankle at Utah on Saturday night. He had played a career-high 35 straight games.
The Clippers never trailed. They led 43-32 after the first quarter and had a 76-70 advantage at the half. It was 107-94 after three, and the Clippers stretched the margin to 26 in the fourth.
Jordan Miller added 19 points for the Clippers. Derrick Jones Jr. had 17, Brook Lopez 16 and John Collins 15.
While Leonard went one for seven from three-point range, the Clippers were 17 for 36 overall. Lopez was four for six, and Jones and Kobe Sanders both were three for four.
Jeremiah Fears led New Orleans with 28 points, hitting five of six three-pointers. Derik Queen scored 19 points, Dejounte Murray had 17, and Trey Murphy III added 16 after missing five games because of a right shoulder injury.
There were tears (and cheers) for Catherine O’Hara. Rhea Seehorn explained “Pluribus,” or at least tried to. Harrison Ford was celebrated at the “half-point of his career.” And, because the show’s on Netflix, there were a few well-placed F-bombs, not including the swears muttered by the actors who didn’t win.
There were TV awards presented too. But we pay attention to the Actor Awards because the show takes place while Oscar ballots are out and are, for the most part, a reliable precursor to the Academy Awards. How trustworthy will they be for the acting winners this year? Let’s take a look.
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The past: The winner of this award has gone on to take the best picture Oscar in 15 of 30 years, making it basically a coin flip and easily the Actor Awards’ least trustworthy Oscar precursor. (The ensemble prize wasn’t awarded in 1994, the ceremony’s first year.) Oscar also-ran “Conclave” won last year, ending a three-year streak — “CODA,” “Everything Everywhere All at Once” and “Oppenheimer” — where the winner of the cast prize went on to take best picture.
Will history repeat itself? If “Sinners” had simply taken this award and nothing else, I would say “One Battle After Another” would still be the overwhelming favorite to win the best picture Oscar. But snagging this prize and Michael B. Jordan winning lead actor gives one pause, doesn’t it? Again, the cast award is not a reliable best picture precursor. A Ryan Coogler movie (“Black Panther”) won in 2019, but lost the Oscar to “Green Book.” And while “Sinners” did haul in a record-breaking 16 Oscar nominations, “One Battle” wasn’t far behind with 13, just one shy of the previous record. It’s easy to get carried away with the way the room exploded when Samuel L. Jackson announced the winner, but “One Battle’s” Producers Guild win carries more weight. I’ll need a couple of days to sit with this.
Female actor in a leading role
(Kayla Bartkowski / Los Angeles Times)
Winner: Jessie Buckley, “Hamnet”
The past: SAG and the academy have matched 21 of 31 years. The last two years have seen the groups split, with Emma Stone (“Poor Things”) winning her second Oscar over SAG winner Lily Gladstone (“Killers of the Flower Moon”) in 2024 and Mikey Madison prevailing for “Anora” over Demi Moore, who won over SAG-AFTRA voters and earned a huge standing ovation when she took the stage for her gonzo comeback turn in the body horror movie “The Substance.”
Will history repeat itself? Buckley has been a lock for the lead actress Oscar since “Hamnet” premiered in September at the Telluride Film Festival, her searching, searing turn as the film’s grieving mother producing the kind of visceral reaction that guts audiences and wins awards. And, boy, has she won awards these last few months, taking pretty much everything save for the major critics groups. The naysayers decried the acting as overripe, sniffing instead of sniffling. Monsters. There’s no denying Buckley goes big with her emotions here, but the magic in her work also can be seen in a much-used still photo from “Hamnet,” the one where she’s resting her elbows on the Old Globe stage, hands clasped, face transfixed, heart opened. You know the shot. And you’re probably getting a little verklempt just thinking about it.
Male actor in a leading role
(Kayla Bartkowski / Los Angeles Times)
Winner: Michael B. Jordan, “Sinners”
The past: This category has been the most reliable indicator of Oscar victory, with SAG and the academy matching 24 of 31 times. There are exceptions, though, such as just last year when Adrien Brody won the Oscar for “The Brutalist,” prevailing over SAG winner Chalamet (“A Complete Unknown”).
Will history repeat itself? Entering the month of February, it looked like Timothée Chalamet was a shoo-in for playing a talented, self-promoting ping-pong player in “Marty Supreme.” In fact, some know-it-all called this race more or less over just a week ago. (That was me.) Chalamet could still win. Maybe SAG-AFTRA voters didn’t want to give him the award again, just a year after they honored him for his lead turn in “A Complete Unknown.” Maybe SAG-AFTRA voters felt he was a bit, shall we say … “brash” in the way he marketed the movie and needed to be taken down a peg.
So now, entering March, it’s looking like “Marty Supreme” could be this year’s version of “The Irishman,” a film that earns a lot of nominations (in this case, nine) and comes away with nothing.
Meanwhile, Jordan’s big swing movie star turn in “Sinners,” playing twin brothers Smoke and Stack, was the best work of his career. That scream that Viola Davis let out when she opened the envelope spoke to the enthusiasm in the room both for the actor and the film. Momentum definitely seems to be on Jordan’s side right now.
Female actor in a supporting role
(Kayla Bartkowski / Los Angeles Times)
Winner: Amy Madigan, “Weapons”
The past: The Actor Award winner has gone on to take an Oscar 23 of 31 times, including last year, when Zoe Saldaña won for “Emilia Pérez,” one of countless prizes she won that season. (Note: One of those 23 winners, “The Reader’s” Kate Winslet, was nominated for — and won — the 2009 Oscar for lead actress for that performance.)
Will history repeat itself? Who knows? This category has been all over the place, but as Madigan said in her speech, she’s been doing this a “long ass time” and there’s a lot of love for this 75-year-old acting great. Teyana Taylor (“One Battle After Another”) took the Golden Globe, and Wunmi Mosaku (“Sinners”) won at the British Academy Film Awards. And the “they’re due” narrative doesn’t always play at the Oscars. (Just ask Demi Moore or Glenn Close.) Will a “One Battle” sweep carry both Taylor and Sean Penn? Or is there room for an outlier? It’s tempting to lean toward Madigan.
Male actor in a supporting role
Winner: Sean Penn, “One Battle After Another”
The past: The SAG winner has gone on to win the Oscar 22 times in 31 years, including the last dozen, the longest streak of any category.
Will history repeat itself? Penn did not attend the Actor Awards, the only thing less surprising than this win. Coming on the heels of taking the supporting actor prize from BAFTA last weekend (Penn didn’t go to that ceremony either), it’s looking likely now that Penn will win his third Oscar. He’s barely campaigned and remains a divisive figure. But his menacing turn as the outrageous Col. Steven J. Lockjaw, a man given to zealotry and tight T-shirts, is the best work he has done in years. Will he go to the Oscars, if only to collect the trophy so he can give another statue to Ukranian President Volodymyr Zelensky? We’ll soon see.
The president of Iran’s soccer federation says he does not know if the national team can play World Cup matches in the United States following the surprise U.S. and Israeli bombardment of his country.
“What is certain is that after this attack, we cannot be expected to look forward to the World Cup with hope,” Mehdi Taj told sports portal Varzesh3 as Iran traded strikes with Israel as part of a widening war prompted by the bombardment.
The U.S.-Israeli strikes on Iran continued for a second day on Sunday after the killing of Iranian Supreme Leader Ayatollah Ali Khamenei threw the future of the Islamic Republic into uncertainty and raised the risk of regional instability.
Iran has been drawn in Group G at the World Cup and is scheduled to play in Los Angeles — where it faces New Zealand and Belgium on June 15 and 21, respectively at SoFi Stadium — before it plays Egypt in Seattle on June 26.
The United States is hosting the tournament with Canada and Mexico from June 11-July 19.
Fans from Iran were already banned from entering the U.S. in the first iteration of the travel ban announced by the Trump administration.
FIFA did not immediately reply to an email from The Associated Press over the current situation regarding Iran’s participation in the World Cup.
PHOENIX — The Dodgers have played mostly great baseball in Los Angeles for 68 years. How many position players wear the iconic L.A. cap on a Hall of Fame plaque?
“That is fascinating,” Freeman said. “That is amazing.”
That means the first position player to wear an L.A. cap in the Hall of Fame might well be the one that shed tears over leaving the Atlanta Braves. Freeman preferred to stay, but the Dodgers offered him a six-year contract and the Braves did not.
“Going into that offseason, it was hard to imagine him in a different uniform,” Friedman said. “And now it’s really hard to see him in a different uniform than ours.”
Yet the love affair between Freeman and Braves fans was so evident in his 2022 return to Atlanta that, in the moment, Clayton Kershaw said, “I hope we’re not second fiddle.”
Said Freeman: “I don’t shy away. I had 12 great years in Atlanta, but I’m having a blast here. It’s been four wonderful years, a couple of World Series titles. I’m here. I love every minute of this.”
We remember best what we remember last. Freeman is well aware of his legacy.
Freddie Freeman tosses his bat after hitting a walk-off grand slam in Game 1 of the 2024 World Series against the New York Yankees at Dodger Stadium.
(Wally Skalij / Los Angeles Times)
No one else in major league history has hit one in the World Series. That was the “Gibby, meet Freddie!” moment.
What is Kirk Gibson remembered for? Do we have to ask?
Gibson played 12 years in Detroit and won a World Series. He played three years in Los Angeles, won a World Series, and one of the greatest moments in baseball history was immortalized by one of the greatest calls in baseball history: “In a year that has been so improbable, the impossible has happened!”
Gibson is a Dodger.
Freeman played 12 years in Atlanta and won a World Series. He has played four years in Los Angeles and won two, with the walk-off grand slam to end one World Series game and a walk-off home run to end an 18-inning World Series game.
Freeman is a Dodger.
If you could follow him around town, you would see.
“I haven’t been able to leave my house once in the last few years without someone coming up to me,” he said. “Sometimes you just want to incognito and get to somewhere, but you can’t. It’s OK. That just means we’re doing something special here.
“Even in Orange County, it’s kind of taken over. There’s a lot more L.A. hats walking around than Angel hats in Orange County.
“It’s just fun to be a Dodger right now. It’s hard not to watch us wherever we go, and that’s special. It’s a great place to play. People want to come here and play. The fans obviously love us, and we appreciate all of it.”
Freddie Freeman waves to fans during Dodgerfest at Dodger Stadium on Jan. 31.
(Ronaldo Bolanos/Los Angeles Times)
Even the traffic. Freeman grew up in Orange County, so he takes the L.A. traffic in stride.
“The 55 isn’t that good either,” he said with a grin. “Or the 91.”
It sounds crazy to say that Freeman could play two or three times as long with the Braves and enter the Hall of Fame as a Dodger.
The totals through 12 years in Atlanta: one championship, five All-Star appearances, one most valuable player award, three top-5 MVP finishes, .295 batting average, .893 OPS.
The totals through four years in Los Angeles: two championships, four All-Star appearances, two top-5 MVP finishes, two legendary moments, .310 batting average, .907 OPS.
Freeman is 36. His contract covers two more seasons, although he said he would like to play four more with the Dodgers and then call it a career. That would make 12 years with the Braves, eight with the Dodgers.
Then, assuming his career does not fall off a cliff: Cooperstown.
“I’ve only been here for four years, and you’re already talking about this?” Freeman said. “That makes me happy because that means I’ve done my job well.”
Reggie Jackson played 10 years with the Oakland Athletics, five with the New York Yankees. His Hall of Fame cap features the Yankees.
Nolan Ryan played nine years with the Houston Astros and eight with the Angels. His Hall of Fame cap features the Texas Rangers, his team for five years.
If Freeman is elected, he and the Hall will confer about which team should be represented on his cap. That conversation might be a decade away, but I’ll say it now: In L.A. and in Cooperstown, Freeman is a Dodger.
Local chapters of National Football Foundation and College Hall of Fame have begun honoring the top senior football student-athletes, with the Coastal Canyon area banquet set for Sunday in Agoura.
Players are selected based on their grade-point averages and leadership skills, among other attributes, honoring the best of the best.
Such players as James Moffat from Crespi, Mateo Bilaver from Chaminade, Jacob Paisano of Hart, Diego and James Montes from Granada Hills Kennedy will represent their schools on Sunday.
The Los Angeles chapter will hold its gathering in Manhattan Beach on Friday.
Simi Valley coach Jim Benkert has taken over running the Coastal Canyon group with dozens of individual student-athletes set to be honored.
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
Final Oscar voting began yesterday. How many of the nominated movies have you seen? Are you doing your due diligence in all the categories before the March 15 ceremony or, given the summer weather outside your window, might the mountains be calling?
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. It’s never too early for flip-flops, is it?
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This may seem obvious. But until this year, the motion picture academy operated entirely on the honor system, strongly encouraging members to see everything before voting.
Now voters have to show their work — up to a point.
This year, academy members are required to certify through the group’s screening room portal that they have viewed all nominated films in each category to be eligible to vote in that category. Since nominations were announced in January, the academy has been emailing voters with updates on their progress, indicating where they’re cleared to vote and where they still have work to do.
One wrinkle, and it’s not a small one: Members can simply check a box indicating that they’ve watched a movie outside the academy’s platform. Perhaps they saw it at a festival, on a streaming platform other than the portal or the place God intended films to be seen — a movie theater.
Whether they actually did watch the movies is left to the honesty of the voter. It’s still an honor system, and members do not need to show movie stubs, tickets or receipts.
Talking with academy members, there seems to be a little wiggle room when it comes to having a clear conscience.
Take the voter who loved Ethan Hawke‘s lead turn as legendary lyricist Lorenz Hart in “Blue Moon,” but hated “Marty Supreme,” turning it off 20 minutes after starting it. Since the academy’s screening room counts a movie as watched only if it’s viewed in its entirety, this voter told me they planned on restarting “Marty Supreme” one night and running it on mute so he could vote in the lead actor category.
“I’d seen enough,” he said. “Watching [Timothée] Chalamet play another pingpong tournament wouldn’t make me change my mind.”
Other academy members told me they were OK marking the “watched” box next to a movie they hadn’t seen, provided they had viewed four of the category’s other nominees. By and large though, they were the outliers. Most voters said they were happy to abstain from voting in a category in which they hadn’t watched all the nominated work. (As academy members may not publicly state voting decisions or preferences, voters spoke on the condition of anonymity.)
“I don’t need to see another ‘Avatar’ movie,” a producers branch member said. “So I’m fine not voting for visual effects or costume design this year. Life is short.”
“I like the idea that I can abstain from categories without any guilt,” an Oscar-nominated writer noted, adding that she thought the new system has been “helpful, reminding me to watch things.”
To that effect, academy members have been receiving a flurry of emails and texts that would give off Big Brother vibes if it didn’t simply boil down to an admonition to watch “Frankenstein” so they could vote in the nine categories where Guillermo del Toro’s monster movie is nominated.
It really isn’t that big an ask, as in recent years the Oscars have become increasingly dominated by a smaller number of movies vacuuming up a greater share of the nominations. This year, the five movies earning the most recognition — “Sinners,”“One Battle After Another,” “Marty Supreme,” “Frankenstein” and “Hamnet” — hauled in 56 nominations.
If an Oscar voter viewed the 10 best picture nominees, they’d be eligible to mark their ballots in best picture and eight other categories — supporting actor, adapted screenplay, casting, cinematography, film editing, production design and original score. Add Hawke’s “Blue Moon” and that opens up lead actor. Make it a double feature with “It Was Just an Accident” and original screenplay becomes available.
“You don’t really need to be much more than a casual moviegoer to knock out most of your ballot,” an actors branch member told me, “except for things like animation and documentaries and the shorts. I don’t know how many people watch all of those.”
Nobody does, save for the PricewaterhouseCoopers accountants counting the ballots. The question vexing both voters and the awards consultants paid to persuade them is how this new, formalized voting will affect the results. As Oscar winners are sometimes the movies that are the most-watched, might requiring voters to see all the nominated work boost less-publicized efforts?
“If ‘Sirât’ wins sound over ‘F1,’ then I think it’s a new ballgame,” one veteran campaigner said. “Right now, though, nobody knows.”
We will soon. In the meantime, with Oscar voting running through Thursday, some academy members tell me their weekend is booked.
“Three nights, three movies,” one voter said. “And then I’m watching ‘Bridgerton.’”
What sounded like a very cool L.A. Art Week party ended up getting a bit too rowdy. On Sunday night the Los Angeles Police Department was called to a former 99 Cents Only store on Wilshire Boulevard where an opening night party was underway for a week-long pop-up called “99CENT,” organized by former tagger and blue-chip artist Barry McGee and presented with the Hole gallery.
An LAPD public information officer confirmed that officers responded to a disturbance call at the location, which is just down the street from the Los Angeles County Museum of Art and the Academy Museum, at 10:30 p.m. Sunday. Police arrived to find “a large group of about 20 or 30 people, drinking and playing loud music.” The crowd dispersed on its own after law enforcement arrived.
Neighbor Rebekka Mueller, who lives across the parking lot from the store, said that a concert at the event had attracted hundreds of people, a number of whom took to tagging four or five neighboring businesses, including the now-closed historic Googie-style Johnie’s Coffee Shop.
The event drew plenty of respectful art fans, Mueller said, “but attracted lots of other people, and they started tagging the whole building — but not in an art way. And then it spilled over to the businesses nearby, to an insurance company, and then two apartment buildings were completely tagged … and they had no security on site when this happened. So this was very alarming for the neighborhood.”
Cole Schiffer, whose family owns the 99 Cents building, said he was sorry that neighbors’ structures were tagged and that he has been working all week to paint over the tagging.
“We didn’t know that this would happen. I was pretty naive about the graphic art world,” he said. “We’re business owners, we spend a lot of time removing graffiti. My mom grew up in this neighborhood. My grandparents lived and died here, so honestly, it’s a little sad and crazy to see this graffiti all over the neighborhood.”
Schiffer said things had calmed down after Sunday night and that the Hole gallery was working to avoid problems for the rest of the week’s festivities.
In a brief story about the event, Times freelancer Mariella Rudi noted that the 99 Cents store had been transformed into, “a dense, joyous artist flea market” featuring, “more than 200 contributors and well over 4,000 works.” When Rudi was there on Sunday night she said she didn’t see any destructive behavior.
“Paintings are stacked against old shelving. Shopping carts hang from the ceiling. You can even check out your purchases at the register, complete with a sticker and a receipt,” Rudi wrote, adding, “Graffiti-heavy aisles will thrill fans of Beyond the Streets, but a handwritten sign near the entrance offers a final note: ‘Please, no tagging inside. Owners are cool.’ ”
The pop-up will feature puppets from Bob Baker Marionette Theatre this Sunday, as well as an Anti-Fascist Zine Fair. This whole scene is right up my alley, and I say, “Yes, please,” to more edgy arts programming featuring outsider artists and youthful rebellion.
But it seems a minority of guests decided to dishonor the spirit of the event by disrespecting the boundaries put into place by organizers.
Even neighbors who complained, like Mueller, said they were big supporters of the arts and that a lot of great art was on display inside the store — they wished the situation had played out differently, and they hope Sunday night’s grand finale proves more in control.
Mueller said that although organizers had painted over many of the tags, the situation at Johnie’s had not yet been remedied.
I’m Times Arts editor Jessica Gelt, and I’m here for all the colorful underground fun — and the angry dissent that often comes with it — but none of the destruction of property.
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The week ahead: A curated calendar
FRIDAY All My Sons Oánh Nguyễn directs Antaeus Theatre Company’s production of Arthur Miller’s 1946 Tony-winning play about a Midwestern family facing a moral reckoning after World War II. Through March 30. Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale. antaeus.org
Detail of a photo by Lou Bopp, seen in the documentary “All the Empty Rooms.”
(Netflix)
All the Empty Rooms Photos memorializing the bedrooms of children lost to school shootings captured by photographer Lou Bopp and reporter Steve Hartman and featured in the Oscar-nominated documentary short film directed by Joshua Seftel, are on display at an outdoor installation. Through Monday, Sunset Triangle Plaza, 3700 Sunset Blvd.
And What of the Children? Writer-director Ryan Lisman’s play blends drama, dark comedy and horror in a psychological thriller about a trio of siblings in the Witness Protection Program. Through March 15. The Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles. events.humanitix.com
Front and Center: Emerging Artists with the Colburn Orchestra Salonen Fellows Mert Yalniz and Aleksandra Melaniuk will lead a varied program of concerto works spotlighting up-and-coming soloists. The performance will be live streamed. 7 p.m. Friday. Zipper Hall, 200 S. Grand. Ave., downtown L.A. colburnschool.edu
John Giorno in Andy Warhol’s “Sleep.”
(Andy Warhol/John Giorno Collection, John Giorno Archives. Studio Rondinone, New York, NY.)
Sleep John Giorno, the subject of the exhibition “John Giorno: No Nostalgia,” stars in Andy Warhol’s 1964 five hours and 21-minute silent film. Free with a reservation. 5-10:30 p.m. Friday. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org
SATURDAY
John Holiday in the title role of LA Opera’s 2026 production of “Akhnaten.”
(Cory Weaver)
Akhnatan John Holiday stars in L.A. Opera’s production of Philip Glass’ portrait of the Egyptian pharaoh, sung in in English, Ancient Egyptian, Biblical Hebrew and Akkadian. Directed by Phelim McDermott and conducted by Dalia Stasevska making her company debut. Through March 21, Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
Attacca Quartet and Theo Bleckmann The versatile Grammy-winning ensemble teams with vocalist Bleckmann on David Lang’s “note to a friend,” a chamber opera based on three reimagined texts by Japanese writer Ryunosuke Akutagawa. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
From Strand to Sculpture A self-guided tour of the Japanese bamboo basketry exhibition will be followed by a lecture from bamboo art expert Robert Coffland, founder of TAI Gallery (now TAI Modern) in Santa Fe, N.M., and now president of the Santa Fe gallery Textile Arts Inc. The lecture is also available via Zoom. 4-7 p.m. Saturday. The Gamble House is located at 4 Westmoreland Place, Pasadena. gamblehouse.org
The Price Richard Fancy, Dana Dewes, Jason Huber and Scott G. Jackson star in Arthur Miller’s late-period drama about two brother’s cleaning out their late father’s New York brownstone. Through April 5. Pacific Resident Theatre, 703 Venice Blvd. pacificresidenttheatre.org
Pepe Romero Returns The classical guitarist joins the Long Beach Symphony for a concert featuring ”Concierto de Aranjuez” by Joaquín Rodrigo, Gabriela Lena Frank’s “Elegia Andina” and movements from Handel’s “Water Music Suites.” 7:30 p.m. Saturday. Long Beach Terrace Theater, 300 E. Ocean Blvd. longbeachsymphony.org
Bud Cort in the 1971 movie “Harold and Maude,” screening March 15 at the Aero.
(CBS via Getty Images)
Starring Bud Cort The American Cinematheque salutes the singular character actor, who recently died at 77, with screenings of Robert Altman’s “Brewster McCloud” (1970), Wes Anderson’s “The Life Aquatic With Steve Zissou” (2004) and Hal Ashby’s“Harold and Maude” (1971). “Brewster McCloud”, 2 p.m. Saturday in 35mm. Egyptian Theatre, 6712 Hollywood Blvd.; “The Life Aquatic”, 3 p.m. March 14; “Harold and Maude,” 1 p.m. March 15 in 35 mm. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
SUNDAY Unassisted Residency Every edition of erstwhile weatherman Fritz Coleman’s monthly comedy show features a special guest. 3 p.m. Sunday. El Portal Theatre, Monroe Forum, 5269 Lankershim Blvd., North Hollywood. elportaltheatre.com
TUESDAY Camerata Pacifica The ensemble performs a program that includes Madeleine Dring’s “Trio for Flute, Oboe and Piano,” the world premiere of David Brice’s “Natural Light,” Cécile Chaminade’s “Thème varié for Piano, Op. 89” and Antonín Dvořák’s “Quintet in A major for Piano and Strings, Op. 81,” arranged by David Jolley. 3 p.m. Sunday. Bank of America Performing Arts Center, Janet and Ray Scherr Forum, 2100 E. Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, 1151 Oxford Road, San Marino; 8 p.m., Thursday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. Friday. Music Academy of the West, 1070 Fairway Road, Santa Barbara. cameratapacifica.org
WEDNESDAY
Sara Porkalob, playwright and performer of “Dragon Mama.”
(Corey Olsen)
Dragon Mama Writer-performer Sara Porkalob returns in Part II of her Filipina American “gangster” family’s intergenerational saga, “The Dragon Cycle,” this time centering her mother’s journey. Directed by Andrew Russell Through April 12. Geffen Playhouse, 10886 Le Conte Avenue, Westwood. geffenplayhouse.org
THURSDAY The Adding Machine The Actors’ Gang performs Elmer Rice’s 1923 satire that provides a prophetic warning from the past for our present. Through April 18. The Actors; Gang, 9070 Venice Blvd., Culver City. theactorsgang.com
Dante and Beethoven’s Sixth Gustavo Dudamel conducts the L.A. Phil in Beethoven’s “Symphony No. 6 in F major, Op. 68 – Pastoral” and Thomas Adès’ “Inferno – Part 1.” 8 p.m. Thursday; 11 a.m. Friday; and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Bill T. Jones/Arnie Zane Company A remounting of the historic dance theater work “Still/Here,” created by Jones 30 years in the midst of the AIDS epidemic from interviews with terminally patients which he called “survival workshops.” 8 p.m. UCLA Royce Hall, 340 Royce Drive, Westwood. cap.ucla.edu
Arts anywhere
New releases of arts-related media.
Clockwise from top left, artists Candice Lin, Njideka Akunyili Crosby, Tomás Saraceno and Ragnar Kjartansson from “Art in the Twenty-First Century.”
(Art21, Inc.)
Art in the Twenty-First Century Museums are fantastic, but do you ever want to know what’s going on right now in the art world? Since it debuted in 2001, this video series has focused on contemporary art and artists and has been a mainstay of public broadcasting. The second episode of the 12th season (they’re released biannually) debuted Feb. 11 and profiles four international artists, Njideka Akunyili Crosby, Ragnar Kjartansson, Candice Lin and Tomás Saraceno, who use ordinary materials to make extraordinary art. Of local note, Crosby and Lin both live and work in L.A., and the Huntington in San Marino makes an appearance as well. Watch at art21.org, YouTube and pbs.org.
(Princeton University Press)
Michelangelo & Titian It may not have been a heated rivalry, but author William E. Wallace makes the case that the two great Renaissance artists drove each other to excel in a new dual biography subtitled “A Tale of Rivalry and Genius.” Princeton University Press: 248 pp., $35. press.princeton.edu
Japan’s Yuma Kagiyama competes in the figure skating men’s singles free skating at the 2026 Winter Olympics on February 13 in Milan, Italy.
(Robert Gauthier/Los Angeles Times)
Turandot: Christopher Tin Finale The two-time Grammy-winning composer completed Giacomo Puccini’s famously unfinished final opera for this EP recorded at London’s Abbey Road Studios with an all-star cast. You may even have heard it during Japanese figure skater Yuma Kagiyama’s free skate program at the recent Winter Olympic Games in Milan (Kagiyama won silver for the second time). Not only was Milan Puccini’s hometown, but the Games coincided with the 100th-anniversary of the premiere of the opera at Teatro La Scala. Tin Works: $12-30. Available on vinyl, CD, digital download and streaming platforms.christophertin.com
— Kevin Crust
Culture news and the SoCal scene
Frieze Los Angeles returned to the Santa Monica Airport on Feb. 26.
(Casey Kelbaugh / Courtesy of Frieze and CKA)
Art Week is here, and L.A. is overflowing with guests, artists and dealers from around the world as the city stages a wide variety of fairs, exhibitions, dinners and other arts events. The Times put together a handy guide to all the fairs you need to see, including Frieze, Butter LA and the Other Art Fair.
Freelancer Jane Horowitz wrote an in-depth piece about Frieze’s “Body & Soul,” a public art program of eight installations designed to reach beyond traditional art fair audiences. The story gives information about site-specific installations and the artists behind them, including Patrick Martinez. Amanda Ross Ho and Kelly Wall.
Kara Walker, “Unmanned Drone,” 2024, bronze
(Ruben Diaz)
Earlier this week, MOCA announced it had acquired 158 works by 106 artists in 2025 and that it had acquired the centerpiece of its current blockbuster “Monuments” exhibit: “Unmanned Drone,” by artist Kara Walker. “Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists,” I wrote in a story about the acquisition.
Our major investigation into L.A. arts icon Judy Baca also published this week, featuring allegations by 10 former employees, including two managers, that Baca used her nonprofit arts center, SPARC, to benefit her private, for-profit art practice, Judy Baca Inc. They also alleged Baca personally benefited from a $5-million Andrew W. Mellon Foundation grant to expand her most famous work, a community-driven effort known as “The Great Wall of Los Angeles.”
Alexander Hurt, left, Katie Holmes and Charlie Barnett in “Hedda Gabler.”
(Rich Soublet II)
Times theater critic Charles McNulty headed to San Diego’s Old Globe to catch Katie Holmes in a new take on Henrik Ibsen’s “Hedda Gabler” written by Erin Cressida Wilson “that compresses the action and sharpens the language to a razor’s edge.”
“Beethoven’s ‘Missa Solemnis’ is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes,” writes Times classical music critic Mark Swed in his review of Gustavo Dudamel and the L.A. Phil’s performance of the challenging piece. “It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually.” The concert at Disney Hall was part of Dudamel’s “month-long L.A. Phil focus on Beethoven.”
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The Los Angeles County Museum of Art announced that its partnership with Hyundai Motor Co. will continue until 2037. The union was first cemented in 2015, and the museum said in a news release that it “represents the largest programmatic commitment from a corporate partner in LACMA’s history.” The announcement included two initiatives “that will define the next chapter” of collaboration. “The first initiative is a new exhibition series under the title ‘Hyundai Project.’ Beginning in 2028, the museum will present a biennial survey of an artist with significant ties to Los Angeles and the Pan Pacific region. The featured artist will also develop a large-scale banner for the exhibition that will be installed on the exterior of the Broad Contemporary Art Museum (BCAM). Secondly, with Hyundai Motor’s renewed support, LACMA will expand the scope, visibility, and impact of the Art + Technology Lab,” the release noted.
Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s Noah Goldberg, with an assist from David Zahniser, giving you the latest on city and county government.
When Los Angeles City Councilmember Nithya Raman launched her bid for mayor, her decision stunned many of the city’s political players, in large part because she had endorsed Karen Bass’ reelection a few weeks earlier.
Since Raman jumped into the race, those politicos have been searching for clues as to why Raman broke so completely with Bass, going from ally to opponent.
Now, an additional data point has emerged that, at minimum, signals that Bass and Raman were not as simpatico as they seemed.
Last month, Bass quietly took steps to drop Raman from the powerful board that oversees the South Coast Air Quality Management District. Raman had been serving in that role since 2022, when she was appointed by then-Mayor Eric Garcetti.
Bass’ team said they notified Raman’s office on Jan. 16 that the mayor planned to select someone else to represent her on the AQMD’s 13-member board, which works to ensure that more than 17 million people across four counties — Los Angeles, Orange, Riverside and San Bernardino — have cleaner air.
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Raman’s term expired last month, and Bass has not announced a replacement. Until that happens, Raman will continue to serve in the post.
Bass spokesperson Amanda Crumley did not provide an explanation for Bass’ decision but said it was not prompted by any policy disagreements between the two.
“The Mayor has 60 days to appoint a new council member to the AQMD, and she and her team started conversations with council members weeks ago in planning for the end of the term,” Crumley said. “As has been the plan for weeks, Mayor Bass will be moving forward with an appointment soon.”
Raman, in a statement, said that losing the AQMD seat was not a factor in her decision to run for mayor.
“During my time on the Board, I’ve been able to meaningfully push for cleaner air, stronger accountability for major polluters, and real progress on zero-emission freight and building standards that protect the health of Angelenos,” Raman said.
Raman said she learned she was being “removed” from her post in mid-January. On Jan. 27, Bass announced that Raman had endorsed her bid for a second term. A few days before that, the mayor’s team informed Raman’s office that they would be going public with her endorsement, according to a Bass campaign aide.
Raman launched her own mayoral campaign on Feb. 7, hours before the filing deadline, saying the city “can’t seem to manage the basics.”
Bass and Raman have mostly been in sync over the last three years, frequently appearing together and only occasionally revealing points of contention.
Raman, who lives in Silver Lake, opposed a package of pay increases for police officers, saying it was financially reckless. Bass, who resides in Windsor Square, said the raises and bonuses were needed to boost recruitment at the Los Angeles Police Department, which has lost 1,300 officers since 2020.
Last year, Raman also opposed a $2.6-billion plan to upgrade the Convention Center. She called the project a budget buster, while Bass said it is needed to revitalize downtown and the region’s economy.
The mayor’s move at the AQMD suggests the two may have disagreed in another policy area. But the back story is tough to decode.
One possible clue: the AQMD’s recent approval of a major agreement to bring zero-emissions technology to the ports of Los Angeles and Long Beach. The agreement commits the ports to add electric truck chargers, hydrogen fuel pumps and other technology aimed at eliminating diesel pollution.
At one point, Raman pushed for a more aggressive “rulemaking” approach that would give the AQMD enforcement power if the ports failed to meet certain emissions goals, according to a source with knowledge of the process, who asked to remain unnamed.
Bass favored a less regulatory approach — a cooperative agreement between AQMD and the ports, the source said. That strategy was also favored by the shipping industry and organized labor.
In the end, Raman voted in favor of the cooperative agreement, while acknowledging outside criticism of the decision. She said she supported the agreement to keep the AQMD from “continuing a decade of inaction.”
Environmental groups were disappointed. Bill Magavern, policy director for the Coalition for Clean Air, said the AQMD “adopted a weak, unenforceable agreement when what the board had committed to doing for years was an actual enforceable limit on emissions.”
Magavern said he thinks there were times that Raman, as a Bass appointee, “felt compelled to go along with the mayor’s wishes.” At the same time, he expressed some concern about Raman’s departure.
“We are sorry to see her leave the board because we think the AQMD needs to face up to our air pollution challenges,” Magavern said. “We certainly hope that Bass will appoint someone who is willing to stand up for clean air and take on polluting special interests.”
For now, Raman’s name still appears on the AQMD website as a member of the board. Its next meeting is on Friday.
State of play
— BIGGER IS BETTER: The city’s Charter Reform Commission recommended this week that the City Council grow to 25 members, up from 15. The citizens panel also called for the city to switch to ranked-choice voting, with voters choosing their candidates in order of preference. Both proposals could wind up on the city’s ballot in November, depending on the wishes of the council.
— FEDS SWOOP IN: The FBI raided the home and office of L.A. Unified schools Supt. Alberto Carvalho this week, in what appears to be a probe involving a company that developed an AI chatbot for the nation’s second-largest school system. Two days later, the school board placed Carvalho on paid leave.
— HEADING TO COURT: Former Fire Chief Kristin Crowleysued the city of Los Angeles this week, saying the mayor retaliated against her in an attempt to shift blame over the city’s handling of the Palisades fire. A Bass aide said the lawsuit has no merit. The council decided to pay Crowley’s successor, Fire Chief Jaime Moore, nearly $474,000 per year.
— ‘RED HOT COALS’: Meanwhile, a Los Angeles firefighter said in sworn testimony that he sounded the alarm about the inadequate mop-up of the Lachman fire — and was blown off by a captain — days before the embers reignited into the deadly Palisades fire.
— SIGNATURE SEARCH: Wednesday’s deadline for candidates to turn in their petitions for the June 2 primary election is fast approaching. So far, six mayoral candidates have qualified for the ballot — Bass, Raman and four others: housing advocate Rae Huang, engineering manager Asaad Alnajjar, political scientist Juanita Lopez and technical architect Andrej Selivra.
— WHO ELSE IS IN? All of the incumbents have qualified: City Atty. Hydee Feldstein Soto, City Controller Kenneth Mejia and Councilmembers Eunisses Hernandez, Katy Yaroslavsky, Monica Rodriguez, Traci Park, Hugo Soto-Martínez and Tim McOsker.
According to the City Clerk’s latest update, the challengers so far are Deputy Atty. Gen. Marissa Roy, running for city attorney; real estate executive Zach Sokoloff, running for city controller; and council candidates Maria Lou Calanche, Nelson Grande, Jose Ugarte and Faizah Malik.
— GIVING BACK GRANTS: About $100 million in state funding for transportation projects in Boyle Heights, Wilmington and Skid Row is now in jeopardy because the city doesn’t have the staff to complete the projects. The issue is part of the fallout from last year’s $1-billion budget shortfall, when city leaders cut hundreds of vacant positions.
— RIDING THE RAILS: The long-awaited extension of the Metro D Line subway, once known as the Purple Line, will finally make its debut on May 8. The extension will take subway riders west from Koreatown to La Cienega Boulevard, with brand-new stations at La Brea and Fairfax avenues.
— ANIMAL ATTACK: A jury has awarded $5.4 million to a woman who was mauled by a dog at an L.A. animal shelter, the latest in a string of such cases. The woman said neither the shelter nor the rescue group she worked for told her about the dog’s bite history.
— BAR FIGHT: Downtown LA Law Group, the firm at the center of the scandal over Los Angeles County’s $4-billion sex abuse settlement, is fighting to keep thousands of documents out of the hands of state bar investigators. The bar launched its probe after The Times reported that nine DTLA clients said they had been paid to sue the county over alleged sex abuse.
— DON’T JUMP: An LAPD officer who went on disability and then was caught skydiving now faces criminal charges. Christopher Brandon Carnahan, 43, committed insurance fraud by exaggerating the extent of an on-duty work injury, according to the D.A.’s office.
— SIDELINED SUPERVISORS: L.A. County Supervisor Kathryn Barger recently sounded off on the governance overhaul coming to the county. Appearing at the Los Angeles Current Affairs Forum, Barger said the powerful new position of elected countywide CEO would relegate the supervisors to the realm of ribbon-cutting and little else.
“You’ll see a CEO that has autonomy to do what he or she wants with no term limits, veto power,” Barger said. “Quite frankly, I think the supervisors are going to be in name only.”
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