Month: October 2026

The Savannah Bananas embarked on their first so-called world tour five years ago. It included only one stop — in Mobile, Ala.

As the unique brand of baseball entertainment known as Banana Ball expanded into a six-team league, the tours have grown in size and scope but never actually ventured out of the United States.

That will change next year. The 2027 Banana Ball Championship League tour will visit 79 stadiums across 74 cities, including the first-ever international stops. Four teams will travel to Mexico, with the Bananas playing the Texas Tailgaters in Monterrey on Feb. 5 and 6 and the Party Animals taking on the Loco Beach Coconuts in Tijuana on Feb. 12 and 13.

The tour swings to Canada in late summer, with the Bananas playing the Indiananapolis Clowns in Toronto on Aug. 14 and 15 and the Tailgaters facing the Party Animals in Winnipeg on Aug. 26 and 28.

“We got a lot of criticism over the years. ‘It’s not a world tour, you’re playing in one city! It’s not a world tour, you’re playing in seven cities in the southeast!’” Banana Ball creator and owner Jesse Cole said Thursday on ESPN2. “But we saw where we could go, and we’ve always had a vision to create 1 billion fans, one fan at a time. And over the last two or three years, we’ve heard from a lot of different countries all over the world.”

The Savannah Bananas, featuring Banana Ball creator and owner Jesse Cole in his signature yellow suit and derby hat, perform onstage during the 2026 ESPY Awards in New York.

(Mike Coppola / Getty Images)

Cole said he expects the 2027 tour to draw an estimated 4.3 million fans.

“Everything we do is do one experiment and then see where it can go,” he said. “And this crazy experiment of Banana Ball has gone some places we never imagined.”

Another new stop next year will be Dodger Stadium, where the Bananas will play the Firefighters on April 23 and 24. The same teams also will face off at Angel Stadium on July 2 and 3, marking the third consecutive year the Bananas have played at the venue.

The schedule reveal show included a number of announcements, including the debut of a concept called Banana Ball 360 on June 26 at Notre Dame Stadium. Two baseball fields will be set up on opposite ends of the stadium, with the game taking place on each during alternating innings.

“I do believe that fans at that show are going to be able to see things they’ve never seen before, and also every single seat is a great seat,” Cole said. “And that was the idea.”

Also announced were a new Disney-produced film documenting the growth of Banana Ball, which will premiere June 12 at Atlanta’s Truist Park, and the league’s third cruise, “Bananaland at Sea + Puerto Rico,” in January 2028. The cruise will depart from the Port of Miami and will feature a Banana Ball game at Hiram Bithorn Stadium in San Juan.

Police reviewing social media post by writer Sarah Helm, wife of Burnham’s National Security Adviser Jonathan Powell.

British police are reviewing a social media post by the wife of National Security Adviser Jonathan Powell in which she appears to endorse Palestine Action, a group proscribed in the country as a “terrorist” organisation.

“God help us authors who support Palestine and Palestine Action,” Sarah Helm, a writer who is married to Powell – Prime Minister Andy Burnham’s national security adviser – wrote on X on Thursday.

She was responding to a post defending Irish novelist Sally Rooney, who this week announced her books would no longer be sold in the United Kingdom over her plans to use her royalties to support Palestine Action.

A Metropolitan Police spokesperson on Friday said Helm’s post is “being assessed to determine whether any further police investigation may be required”.

A government spokesperson cited by the Reuters news agency said the views expressed in Helm’s post “are held by an individual who does not represent the government in any capacity”.

‘Absurdly authoritarian ban’

UK-based activist group Defend Our Juries defended Helm for defying what it called an “absurdly authoritarian ban on Palestine Action”.

“We know of 36 people who have been arrested and had their homes raided for similarly expressing support for Palestine Action on social media,” said a spokesperson for the group.

“We hope Sarah will not face the same treatment for standing up for free speech and Palestinian lives.”

The UK government outlawed Palestine Action in July 2025, after activists from the group broke into a Royal Air Force base and sprayed red paint on two aircraft to protest against UK military support for Israel’s genocidal war on Gaza. Being a member or a supporter is punishable by up to 14 years in prison.

Since the ban went into effect, police have arrested more than 3,500 people in the UK for alleged support of the group, many of them for holding up placards, according to rights group Amnesty International.

Palestine Action has contested its proscription, but the Court of Appeal upheld it in June.

The UK’s new Foreign Secretary Ed Miliband last month said the government was “looking at” the Palestine Action ban, adding that he did not believe mass arrests resulting from its proscription were “anyone’s intent”.

The Canadian Forces Snowbirds brought the Canadair CT-114 Tutor’s aerobatic career to a close on Friday, October 16, with a final home-base demonstration at 15 Wing Moose Jaw, Saskatchewan. The private event, which was livestreamed, honored the Canadian-built jet trainer that defined the team for more than half a century, as well as the aircrew and support personnel who kept the increasingly demanding aircraft flying.

While Friday’s performance marks the end of the Tutor’s aerobatic display career with the team, a Grey Cup flyover in Calgary on November 15 remains on the schedule.

Speaking to MooseJawToday on October 15, Snowbirds team lead Maj. Maciej “Match” Hatta described the Tutor’s final season as an emotional milestone for the squadron, as well as an opportunity to recognize the families and support personnel who sustain the team during its annual touring season.

Hatta has a long personal history with the aircraft. He flew with the Snowbirds from 2014 to 2017, subsequently worked on testing the Tutor’s avionics upgrades, and returned this year to lead the team through its final season with the jet. Despite having flown around 30 different aircraft as a test pilot, he has a particular attachment to the Tutor.

“This is still my favorite airplane to fly,” he said.

Fly With The RCAF Snowbirds

Hatta recalled flying a maintenance test sortie alone the previous day, enjoying the opportunity to look out over the wings without the near-constant radio communications involved in leading a formation display. He also noted the differences between individual aircraft in the fleet.

“They all have their own personality,” Hatta said. “Some of them howl a little more than others. Some get hotter inside. Some have poor air conditioning.”

Lt.-Col. Guillaume Paquet, commanding officer of No. 431 Air Demonstration Squadron, Royal Canadian Air Force (RCAF), said the final season has prompted strong reactions from spectators, many of whom have grown up watching the Snowbirds perform in the Tutor.

“The reality is we’ve been touring this country for 55 years, so everyone has a story, a childhood memory,” Paquet said.

Golden Hawks To Snowbirds

Canada’s military aerobatic tradition dates back to 1929, when the biplane Armstrong Whitworth Siskin helped establish the country’s formation-flying heritage. The modern era began in 1959 with the creation of the Golden Hawks, formed to mark the 50th anniversary of powered flight in Canada and the 35th anniversary of the RCAF. Flying gold-painted Canadair-built F-86 Sabre fighters, the team initially was intended to operate for a single season. Its popularity led to several more years of performances across Canada and the United States before it was disbanded after the 1963 season amid the high costs of maintaining it.

Iconic Aircraft Series – F-86 Canadair Sabre

Canada’s centennial celebrations in 1967 brought a new demonstration team, the Golden Centennaires, which flew CT-114 Tutor jet trainers at 100 airshows across Canada and the United States. The Tutors would subsequently become the foundation of the Snowbirds. In 1969, Colonel O.B. Philp, newly appointed commander of No. 2 Canadian Forces Flying Training School at Moose Jaw, Saskatchewan, encouraged instructors to practice formation aerobatics using surplus Tutors left over from the Centennaires program. Initially presented as training and proficiency flying, the formations soon attracted public attention and gradually evolved into an established demonstration team.

The formation grew from four aircraft in 1970 to seven in 1971, when the Snowbirds name was adopted following a competition among schoolchildren. Two solo aircraft were added in 1972, establishing the team’s familiar nine-aircraft format. That year, its pilots were assigned to demonstration flying on a full-time basis. The team’s Tutors were modified to support solo operation from the right-hand seat and the demands of inverted flight during aerobatic displays. In 1974, the Tutors received their distinctive red, white, and blue paint scheme, and the team was authorized to perform a fully aerobatic display.

The Snowbirds subsequently achieved full squadron status as No. 431 Air Demonstration Squadron, becoming one of the most recognizable symbols of Canadian military aviation. Their officially stated mission was to demonstrate the professionalism, teamwork, and flying skills of the Canadian Armed Forces to audiences across North America.

However, the Tutor’s final years were marked by a series of serious accidents and renewed scrutiny of its aging systems.

In October 2019, a Snowbirds aircraft crashed in Georgia after an engine fuel-delivery failure, with the pilot surviving an ejection that was itself affected by a parachute malfunction. In May 2020, another Tutor crashed shortly after takeoff near Kamloops, British Columbia, killing the Snowbirds public affairs officer and seriously injuring the pilot; investigators determined that a bird strike had triggered an engine compressor stall. The fleet was temporarily grounded following that accident, with operations resuming under additional restrictions in August 2020.

A further accident at Fort St. John, British Columbia, in August 2022 prompted another fleet-wide operational pause after an engine failure during takeoff; investigators identified an improperly assembled oil filter as the cause. The aircraft returned to service the following month.

Subsequent safety measures included restrictions on certain aerobatic maneuvers and formations, minimum runway-length requirements, and limits on flying over water or performing some maneuvers outside gliding distance of a suitable landing surface.

At the same time, the persistent engineering challenges involving the Tutor’s airframe, engines, and ejection system were all factors in its retirement, with the RCAF concluding that further life-extension work was no longer practical.

Developing Canada’s Jet Trainer

Canadair Limited of Montreal began developing the CL-41A Tutor in the mid-1950s as a high-performance jet trainer to prepare RCAF pilots for the Canadair-built F-86 Sabre. The all-metal, low-wing, single-engine aircraft featured side-by-side seating and duplicate flight controls, allowing instructors to monitor students closely and take control when necessary. Two prototypes were built, with the first making its maiden flight on January 13, 1960, with Canadair test pilot Ian MacTavish at the controls.

Following an extensive testing and demonstration program, Canadian Minister of National Defence D.S. Harkness announced an order for 190 production aircraft on September 11, 1961. Deliveries began in 1963, with each aircraft reportedly costing approximately C$425,000 (around $394,000). Powered by a General Electric J85-CAN-40 turbojet built under licence by Orenda, the aircraft entered RCAF training service in late 1964 under the designation CT-114 Tutor.

As well as the RCAF, the Tutor found one other military operator in Malaysia. The Royal Malaysian Air Force received 20 examples designated the CL-41G Tebuan (meaning “Wasp” in the Malay language), which served between 1967 and 1986 in the ground-attack role.

The Tutor served as the RCAF’s primary jet trainer for decades, accumulating more than one million flight hours before its training role ended in 2000. It was replaced by the CT-156 Harvard II and CT-155 Hawk. The aircraft nevertheless remained in military service with the Snowbirds.

The Next Chapter

The Tutor’s retirement will bring an end to a long chapter in Canadian military aviation, but the Snowbirds are expected to continue flying with a new aircraft type. In May of this year, the Department of National Defence announced plans to replace the CT-114 with the CT-157 Siskin II, based on the Pilatus PC-21 turboprop trainer. The new demonstration capability will remain at 15 Wing Moose Jaw and is expected to become operational in the early 2030s.

The Siskin II has already been procured under Canada’s wider Future Aircrew Training (FAcT) program, for advanced fixed-wing and jet preparation. It is one of five aircraft types being procured under a 25-year, C$11.2-billion (approximately $7.9 billion) contract awarded to SkyAlyne in 2024. The other four types are the CT-102B Astra II (Grob G 120TP) for basic pilot training; CT-157 Siskin II for advanced fixed-wing and jet preparation; CT-145E Expeditor II (Beechcraft King Air 260) for multi-engine training; CT-153 Juno (Airbus H135) for helicopter training; and CT-142Q Citadel (De Havilland Canada Dash 8-400) for training air combat systems officers and airborne electronic sensor operators.

Paquet, the No. 431 Air Demonstration Squadron boss, said all Tutors are to be flown to IMP Aerospace in Trenton, Ontario, by March 31, 2027, where they will be disposed of. Some aircraft are expected to be preserved in museums or mounted on pedestals for public display, while others will be used as training aids for aircraft maintenance apprentices in Borden, Ontario.

“They’re not going to be flying. They’re not going to be flyable,” Paquet said.

Snowbirds team lead “Match” Hatta hopes to contribute his test-pilot experience to the transition, including testing the replacement aircraft and developing the new demonstration program.

“I would love to contribute to the team in terms of seeing them through the transition,” he said. “If I’m able to use my test background as well in helping that out, testing the new show, testing the new airplanes, and passing it on to a new boss down the road, then I’d love to do that.”

For Paquet, the immediate priority is completing the final display season without incident before turning to the next phase of the team’s history.

“I will definitely be emotional. The only thing I’m hoping for is that all the planes land safely, bring everybody home, and then we can check the box and say it was an extremely successful season. I brought everybody home, and we’ll move on to the next chapter.”

After more than six decades since its development began, the Tutor leaves behind a legacy spanning generations of military pilots and millions of spectators. Its final Snowbirds aerobatic display represents not simply the retirement of an aging aircraft, but the end of a long tradition in which the little jet trainer was one of the country’s most recognizable symbols of military flying and aerial performance.

Contact the author: thomas@thewarzone.com

Rock band Pavlov’s Dog is mourning the loss of singer-songwriter and lead vocalist David Surkamp, who died Monday at age 74.

Violinist and Pavlov’s Dog member Abbie Steiling announced Surkamp’s death Wednesday on Facebook. Additional information about Surkamp’s passing, including a cause of death, was not revealed.

“David leaves behind a legacy of endless creativity, unmistakable artistry, and a body of music that has touched lives across generations and around the world,” Steiling said on the band’s behalf.

Pavlov’s Dog also remembered its vocalist for his “profoundly poetic spirit and a romantic heart that found its way into every note, every lyric and every performance.”

Surkamp was born May 23, 1952, and led Pavlov’s Dog, known for songs “Julia” and “Late November,” since its founding in 1973 in St. Louis. He founded the band alongside bassist Rick Stockton, violinist Siegfried Carver and drummer Mike Safron, according to the band’s website. The group, which first signed to ABC Records under a six-figure deal, released its debut album “Pampered Menial” in 1975. The release featured the band’s most popular songs and showcased Surkamp’s high-pitched and trembling, yet powerful, vocals.

Pavlov’s Dog’s second release “At the Sound of the Bell” followed in 1976 and its third, “Lost in America,” came more than a decade later in 1990. Surkamp departed Pavlov’s Dog while recording its junior album and traveled to Seattle to further develop his musical talents. This led to a collaboration with British musician Iain Matthews and their power pop duo Hi-Fi.

Surkamp and his Pavlov’s Dog collaborators reunited in the early 2000s and Surkamp’s wife, Sara, joined as a vocalist and guitarist. The group went on to tour Europe, including playing the Netherlands’ Arrow Rock Festival in 2006. Over the years, Pavlov’s Dog saw members come and go: Some musicians departed the group because of conflicting commitments and others — including founding members Carver and Rayburn — died in the late aughts and early 2010s.

The group, with Surkamp still at the helm, later released albums “Echo & Boo” in 2011, “Wonderlust” in 2025 alongside some live albums, remasters and unreleased demos.

“He always allowed the musicians around him to shine in their strengths, generous with the spotlight and appreciative of what each brought to the music,” Steiling continued in the band’s Facebook post. “No matter what life held for him, he came alive onstage. Even on his hardest days, when the lights came up and the count-off began, he was a consummate performer. If he was playing music, it was a great day.”

Surkamp was preceded in death by his wife Sara, who died in 2025 at age 72. He is survived by children Saylor and Evan.

Oct. 16, 2026 10:51 AM PT

WASHINGTON — President Trump signaled Friday that his embattled new press secretary, Katie Zacharia, may be on her way out — a mere week after he picked her for the post.

Speaking to reporters on the White House lawn as he left for a rally in Georgia, Trump said he’d spoken to Zacharia and that he felt she didn’t deserve what he called negative media coverage.

Recounting what was said in that conversation, the president suggested that Zacharia might not stay on the job for long: “I told her, ‘I think you’re better off being happy.’”

He added: “I said, ‘Katie, do you need this? I don’t think you need this,’” and that he wanted “her to have a good life” and not be subjected to criticism, which he likened to being “brutalized by the media.”

The president said he’d make a final determination later, perhaps after his campaign travel on Friday and this weekend, adding, “When I get back, we’re gonna talk.”

Zacharia’s short tenure has been defined by questions about her professional background and lack of polish in fielding questions from journalists.

She was a surprise choice when Trump announced her appointment on Oct. 9, as the successor to Karoline Leavitt, the youngest-ever White House press secretary who had been part of Trump’s inner circle for years.

Zacharia came under immediate scrutiny when she appeared uncomfortable during her inaugural briefing, delivering halting remarks touting the president and his accomplishments.

She took questions from just three reporters, all from conservative-leaning or Trump-friendly outlets, and left after only about 14 minutes.

Zacharia has said she wanted to keep her briefing short to ensure Trump had enough time later that morning for his own question-and-answer session with reporters, and that she had not been fully briefed by White House staff beforehand.

She later traveled with Trump when he held rallies on Wednesday and Thursday in Alaska, Arizona and Montana — but did not hold more press briefings.

In an appearance on Fox News Channel earlier Friday, Zacharia was asked if she had the president’s confidence and responded: “I hope to be able to build the trust and confidence of everyone around me.”

But she also wouldn’t say when her next press briefing might be.

Zacharia, a Pepperdine University law graduate, also faced criticism for calling herself a “lawyer” when she had not passed a bar exam or was otherwise credentialed to practice.

She had described herself as such when appearing as a commentator on conservative television outlets. Zacharia said the term was a proper one to use when she was offering legal analysis, and said she had worked as a lawyer in China.

Zacharia said Friday on Fox News that she wasn’t asked about passing the bar before becoming press secretary, and Trump noted in his subsequent comments that she was hired as a spokesperson for the White House, not as an attorney.

Before joining the White House, Zacharia had been working in communications for Trump Media, the company that oversees the president’s social media site, Truth Social. She also briefly worked at the Department of Homeland Security during the second Trump administration.

Weissert and Kim write for the Associated Press.

Lawyers for Janie and Joey Buss, two of the co-trustees of the Buss Family Trust that owns part of the Lakers, filed a response to Jeanie Buss’ petition Friday with intention to move forward with the proposed sale of the family’s remaining shares of the team.

While Jeanie is trying to block her five siblings from selling the team, the new response filed in L.A. Superior Court states that Janie and Joey, the two other co-trustees of the family trust, were authorized and required to implement the vote after a majority of the living siblings opted to terminate the trust in August. The vote of five siblings to sell the shares triggered the termination clause in the trust, and the filing argues that the trust doesn’t grant trustees discretion to disregard a valid vote to terminate.

The filing, which follows formal opposition filed on behalf of five Buss siblings last week that defended their right to vote to sell the team, asks the court to dismiss Jeanie’s petition or deny it in its entirety.

Jeanie argued that her siblings could not terminate the family trust and sell the remaining 17.82% of the team without her approval, citing a 2017 court order that instructed trustees to “take reasonably available steps” to support Jeanie’s annual election as Lakers controlling governor. The court order, obtained after Jeanie’s older brothers Jimmy and Johnny Buss tried to oust her from the organization, installed Janie and Joey as co-trustees.

But the court order did not prohibit a sale or termination of the trust, lawyers for Janie and Joey argue. While the order named “voting the trust’s shares” as a reasonable action, it did not require the trust to hold a 15% stake in the team to reach the NBA’s eligibility threshold for minority owners to serve on the league’s board of governors, the filing states.

Jeanie was selected by her father Jerry Buss to serve as the team’s controlling governor after his death in 2013.

Since the family patriarch bought the team, the Forum and the Kings for $67.5 million in 1979, the Lakers have become one of the most valuable brands in sports. Mark Walter, who purchased controlling ownership from the Buss siblings in 2025, sold his shares to venture capitalist Joshua Kushner and former Disney chief executive Bob Iger 14 months later at a record $12.5 billion valuation.

Using a tag-along provision secured during the sale to Walter, the five Buss siblings hope to maximize value for all six beneficiaries, including Jeanie, the new filing reports. Selling the 17.82% stake in the team would be worth about $2.2 billion.

A hearing is scheduled for Dec. 8. The Lakers open the regular season on Oct. 21 against the Golden State Warriors at Crypto.com Arena. Jeanie was seen at the Lakers’ home preseason opener on Oct. 8, sitting courtside on the baseline.

Jon Rahm will give up a reported £75m owed to him by LIV Golf after reaching a separation agreement that will secure his exit from the league.

The league filed for Chapter 11 bankruptcy protection in the United States in September after Saudi Arabia’s Public Investment Fund withdrew its multibillion-dollar backing.

Spaniard Rahm was listed as the organisation’s top unsecured creditor when LIV filed for bankruptcy, with $7.4m (£5.5m) owed to him for the rest of the 2026 season alone.

ESPN reported he is owed about $100m (£75m), external from the remainder of the $300m, (£222m) contract he signed when he left the PGA Tour for LIV Golf in December 2023.

Despite LIV securing a possible $300m in financing from BC Partners Credit to try and move forward with ‘LIV 2.0’, Rahm has deemed the proposed terms are “unacceptable”.

Instead, he has waived his entire claim in order to have a “complete economic walk-away”.

However, he will take the rights to ‘Legion XIII’ – the name of the LIV team Rahm captained – although he will not be allowed to use it to make a team in TGL – the indoor high-tech golf league launched by Tiger Woods and Rory McIlroy.

Rahm was the most high-profile name to join LIV when he left the PGA Tour.

Some players, including Brooks Koepka, have since returned to the PGA Tour, which rewrote its rules in December to allow the five-time major winner to come back, subject to certain sanctions.

Rahm did not follow suit and remained under long-term contract with LIV, but in May reached a deal with the DP World Tour – formerly the European Tour – to retain his membership and remain eligible for next year’s Ryder Cup.

LIV golfers are automatically banned for a year by the PGA Tour. The DP World Tour offers a pathway because the leading 10 players on the European circuit currently gain access to PGA Tour membership.

In August, former world number one Rahm won his third straight LIV season title.

He previously said he had no regrets over joining LIV and backed organisers to make it sustainable.

Banished Traitors star Hannah Fry revealed she is actually related to one of her co-stars and shared her true opinions of them after leaving Ardross Castle

The aim of the game is for faithfuls to hunt out the Traitors, but for one contestant, they discovered more than they bargained for in the latest series of Celebrity Traitors.

Recently ousted traitor Hannah Fry was part of the group of famous faces battling it out to bag a big lump sum for charity in the second celeb offering of the BBC show.

Thursday’s episode of the saw Hannah feel the force as fellow Traitors Maya Jama and James Acaster turned on her in a bid to save themselves. The mathematician and author, 42, discovered she is related to one of her co-stars.

When she was asked who she was closest to in the Ardross Castle, Hannah said: “I really like Joanne. We actually discovered that we’re cousins, by marriage. So her cousin is married to my cousin.”

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She then joked: “We’re basically sisters. I really loved her so much. She described herself as how she came out of the womb as a show pony.

“That’s the perfect description of that woman. She is phenomenal. She knows exactly who she is, and she is totally unapologetic about it. I cannot tell you how much I admire her. She’s phenomenal.”

In the same episode as Hannah being banished, comedian Rob Beckett was also murdered. He admitted he found being murdered funny. but Hannah she’d cried more during her five days of playing the game than at any other point in her life.

Speaking in the immediate aftermath of her leaving the castle, she said she found the whole experience a rollercoaster of emotions. Hannah said: “I laughed more, cried more and got more excited than I ever have in the entirety of the rest of my life combined.

“I really preferred being Faithful. I think it’s just a much more authentic experience.” She went on to say hat one of the lessons learned was that she hated “lying to people’s faces”.

She continued: “I think there’s actually some pride in being a rubbish Traitor.” And she admitted she knew she wasn’t destined to last long in the game.

“On the first day, I asked Michael Sheen who he would murder, and he said, ‘You’. At that point I knew I was really in trouble,” she said.

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NEW YORK — President Trump says he wants voters to pretend that he’s on the ballot in this year’s midterm elections.

His rivals are doing their best to help his case.

Democratic candidates and their allies have spent more than $163 million since Sept. 1 on television advertising that mentions the Republican president, according to an Associated Press analysis of data from AdImpact, which charts media spending.

That includes airing ads that reference Trump on broadcast, cable and streaming nearly 180,000 times, the data shows. Republicans, meanwhile, have run ads that talk about the president just 16,000 times, at an estimated cost of $11 million, over the same period.

It’s a noticeable silence about the party’s dominant yet unpopular leader.

Many of the Democrats’ ads accuse Republican opponents of siding with the president over voters, particularly on issues like tariffs and the Iran war, which they blame for jacking up costs.

The ads include one from the campaign of Georgia Sen. Jon Ossoff, who is running for reelection and has spent nearly $3 million on a Trump-focused ad attacking his rival, Rep. Mike Collins, for his close relationship with the president.

“Mike Collins voted for Trump’s war in Iran, sending gas prices through the roof. He voted for Trump’s tariffs, sending grocery prices soaring. And Mike Collins voted with Trump to double health insurance premiums for more than a million Georgians,” it says. “Mike Collins sides with Donald Trump and makes you pay more.”

Republican National Committee spokesperson Natalie Baldassarre said Democratic messaging reflected the party’s hollowness instead of its strength.

“Democrats are lighting money on fire talking about President Trump because they have no agenda other than investigation, obstruction and impeachment,” she said. “Trump Derangement Syndrome isn’t a policy platform, it’s a $160 million way of saying you have nothing to offer to the American people.”

Democrats link Trump and his allies to economic woes

Another ad from the House Majority PAC, a super PAC dedicated to electing Democrats to the House, opens with a middle-aged woman standing over her kitchen stove and talking about how her family is “barely getting by” before she expresses her disappointment in Pennsylvania Rep. Brian Fitzpatrick, who is one of Republicans’ vulnerable incumbents.

“He used to be independent. But now it seems like he’s in lockstep with Donald Trump. It really bothers me,” she says, adding, “Congressman Fitzpatrick is not for us anymore.”

Indeed, all the Democratic ads that have aired in Pennsylvania’s tightly contested 1st Congressional District since Sept. 1 have mentioned Trump, even though Fitzpatrick voted against Trump’s tariffs and his power to wage war against Iran without congressional approval.

All four of the ads talking about Trump have aired a combined 2,000 times in that period, the AdImpact data shows. Fitzpatrick is being challenged by Democrat Bob Harvie, a county commissioner who is a former social studies teacher.

Democratic strategists say the messaging reflects the sentiment of voters.

“Every single poll and every single focus group shows affordability to be voters’ number one issue, and they specifically point to corrupt politicians as being responsible for driving up prices,” said House Majority PAC spokesperson Katarina Flicker.

Republican ads back away from the president

Out of dozens of issue categories tracked by AdImpact, the analysis found that Trump was the fourth most common issue mentioned by Democrats in House and Senate races’ final stretch. It was topped only by healthcare, taxes and accusations about opponents being beholden to special interests.

For Republicans in the same races, Trump-themed ads clocked in at number 33, by comparison. The top issues in their ads were taxes and crime.

Idaho Republican Senator Jim Risch tells viewers he “fought alongside President Trump to pass the biggest tax cuts for working families in American history.”

Overall in the race’s final stretch since Sept. 1, Democrats have spent or plan to spend $1.8 billion in ads across all federal, state and local elections. Republicans have spent or reserved $2.2 billion nationwide.

Republican strategist Alex Conant said Democrats are banking on Trump motivating their base to vote, an approach they’ve routinely used over the last decade.

“Democrats want this election to be a referendum on Trump. They want to equate a vote for a Republican candidate to a vote for Trump,” he said.

For Conant’s party, it’s a different calculus.

“We have a ton of money and we’re throwing every kind of message on the wall to see what sticks,” he said. “There’s not a cookie-cutter Republican ad this year. Whereas the Democratic ads are pretty obvious.”

Colvin and Kessler write for the Associated Press.

Neither USC nor UCLA has made the College Football Playoff since its inception in 2014. Yet the Trojans finished six of those 12 seasons ranked in the Associated Press top 25, while UCLA finished in the top 25 twice and is currently ranked No. 12.

Reports that the CFP is nearing a deal to expand the field from 12 to 24 teams in 2027 should be tremendous news for both schools. UCLA (5-0) is surging after its rousing upset over Oregon, and USC (6-1) is ranked No. 19 after beating Washington and Penn State.

Arduous tests loom during the second half of the season, however, making the chances of getting the nod from the CFP selection committee a coin flip at best.

Next season, however, all it would take is being among the top 24 teams as deemed by the 13-member committee, which considers on-field performance, head-to-head results and strength of schedule the primary criteria.

The Big Ten was the primary driving force behind the expansion, which gained momentum recently when the Southeastern Conference gave its blessing. The CFP management committee, made up of 10 FBS conference commissioners and Notre Dame’s athletic director, met Thursday to discuss the negotiations with ESPN, according to the Athletic and ESPN.

“When you get a room of 50 coaches or whatever we have in this conference together, it’s hard to get everybody to be unanimous on something,” USC coach Lincoln Riley said earlier this season. “This is something where our room has been unanimous.”

ESPN reported that the network would acquire the additional games and continue to be the exclusive home of the CFP through the length of its current six-year contract.

“Constructive discussions with ESPN continued this week,” the CFP said in a statement Thursday night. “We have enjoyed a strong partnership with ESPN since our inception and are appreciative of the productive dialogue we have had throughout the negotiating period and continuing over the last several days. We will provide additional updates on the matters of future format and media rights when appropriate.”

Expanding the CFP would not be without concessions. The lengthier postseason would force the regular season to begin one week earlier and likely eliminate Power 4 conference championship games, which while lucrative, can be redundant and potentially problematic in impacting the CFP slate. Lower and mid-tier bowl games might become extinct, although the six prominent bowls on and around New Year’s Day — Rose, Fiesta, Sugar, Orange, Cotton and Peach — should continue to host the CFP quarterfinals and semifinals.

The format has not been formally approved, but one scenario would give the top eight seeded teams a first-round bye and a home game in the second round. The other 16 teams would play first-round games hosted by the higher seed. It would take five games for a team seeded from nine to 24 to win the championship and four games for one of the top eight.

That’s a lot of football beyond the regular season. The wildly popular NCAA men’s basketball tournament will expand from 68 to 76 teams next spring, but the physical demands of the two sports are markedly different, making the expansion there less onerous on players. Still, if the expansion is approved, the CFP will have its own version of the NCAA’s trademarked titles Sweet Sixteen, Elite Eight and Final Four.

March Madness is another trademarked term, although the NCAA would need to come up with something new for the CFP: December Delirium, anyone?

USC and UCLA presumably would be happy with any name as long as they are invited to the festivities.

As Puerto Rico continues to grapple with the long aftermath of Hurricane Maria — from an unreliable electrical grid to ongoing water shortages — the need for stories that see the island as more than a backdrop feels especially urgent.

That’s part of what makes “Hurricane Seasons,” an intimate new independent film about a Puerto Rican family returning home, feel so timely. The film, which screens Sunday at the Newport Beach Film Festival, stars comedian Aida Rodriguez as Glori, a Brooklyn-based artist and community-center worker. She returns to Puerto Rico to help her sister (Justina Machado) care for their terminally ill mother (Priscilla Lopez).

When their matriarch convinces the family to embark on a bucket-list road trip around the island, old family secrets surface as the 2019 protests following Hurricane Maria unfold around them. Directed by Nicole Gomez Fisher and written by Xavier Ortiz — with Rodriguez also serving as a producer — the film is both a story of a multigenerational family and a love letter to Puerto Rico.

For Rodriguez, who is best known as a stand-up comedian, “Hurricane Seasons” also marked a return to a part of her artistic identity that existed long before comedy — her love of acting. But she admits that stepping back into acting, especially as the film’s protagonist, wasn’t an easy transition.

Aida Rodriguez, left, and Priscilla Lopez in a scene from “Hurricane Seasons,” directed by Nicole Gomez-Fisher.

(Laura T Magruder)

“It was terrifying. It was very scary because as a stand-up comedian, I work very hard at trying to obtain my most authentic self so that I can share it with everybody — to be my truest self, my truest Aida,” she says. “And when you loan yourself to a character and the art form of acting, you’re loaning yourself to that character and bringing yourself to that character, of course, because that is why they choose you. But you are telling a story from the perspective of another person.”

Rodriguez had pursued acting before going into stand-up comedy. Upon moving to Los Angeles, she quickly booked acting work, signed with an agency and began taking classes.

But comedy eventually taught her to do almost the opposite of what acting required.

“When I started doing standup, the direction and the notes were always like: ‘Release any character you have in mind and just access yourself,’” she says. “So it was a battle for me. Coming back to becoming an actor and giving the character Glori what Glori deserved — and allowing Glori to live, and Aida to sit in the back — became something important for me to do.”

She adds that it took a lot of work with coaches and classes for her to relax into acting again, allowing Aida the comedian to rest while focusing on what this role required of her.

The film’s protagonist, Glori, is a Brooklyn-born-and-raised Puerto Rican woman whose connection to the island runs deep, despite her living stateside. This is something Rodriguez, who is half Puerto Rican and half Dominican, born and raised in the States, also personally relates to.

That tension — between where you live, where your family comes from, and who gets to decide whether you are “Puerto Rican enough” — is one of the film’s central themes and one reason the script resonated with Rodriguez.

“My testimony through my art has always been finding unity, solidarity, power and connection with other people,” she says. “I think that the story of growing up in the States and connecting to the island is a universal story that most people, regardless of where they come from, experience. [There’s this] idea that you’re never American enough nor whatever you are — in this case Puerto Rican enough — because there’s always a judge and jury on both sides.”

Rodriguez sees those tensions as a consequence of a much larger and complex history. She believes so much of the judgment on both sides is a lingering effect of colonization.

“For me, that was one of the most attractive things about the script — [it] was being able to engage in a conversation about what being Puerto Rican really is,” she says. “Is it based on colonial standards? Or is it based on maintaining our cultural richness and our legacy, that is handed down to us regardless of where we are?”

That question takes on even more weight today as Puerto Rico sits in the aftermath of Hurricane Maria, which Rodriguez believes shifted the relationship between Puerto Ricans on the island and those living stateside.

“There was a shift, because there are wounds from both places,” she says. “There are wounds from the people on the island that stayed and stuck it out. [They want to ask] the ones who left, ‘why do you get to claim this, if you’re not here sticking it out with us?’ Then the people who leave feel like, ‘we had to do this, so that we can not only survive, but send money back to the island.”

Rodriguez explains that, in many ways, the aftermath of the hurricane sparked arguments on both sides that were necessary to begin healing the tension. She believes it highlighted issues that Puerto Ricans, as part of a diaspora, could no longer ignore; it also highlighted an island and a community that Americans outside of the Latine community paid little to no attention to.

“It took a hurricane for people to know what Puerto Ricans were,” she says. “I think there was a cultural shift and there was a conversation that needed to be had, about what happens on the island. And what that means to those of us who are not there.”

That conversation serves as the meat and bones of “Hurricane Seasons,” in which Puerto Rico isn’t simply a location. It’s an integral presence in the story. Rodriguez, Ortiz and Gomez Fisher all agreed that filming most of the movie on the island was essential, not only creatively but also economically and culturally.

“The other thing that was very important about taking the movie back to Puerto Rico was to invest in Puerto Rico and to stimulate some sort of revenues for the island and that the crew was a Puerto Rican crew,” she says. “The DP [director of photography] was a Puerto Rican DP — all people that live on the island.”

It was important to them that if they were going to tell a story about Puerto Rico that was also shot in Puerto Rico, that Puerto Ricans on the island actually benefited from the production.

“It’s not cool to go to Puerto Rico and shoot a movie and bring in your own people from the States, and the people in Puerto Rico have to be inconvenienced with their roads being blocked and things shut down and an influx of Americans that come there to be disrespectful and them not making anything out of it,” Rodriguez says.

This commitment shows in the protest scenes. Rather than using background actors, the film features real Puerto Rican residents, including a local activist and singer.

“It didn’t feel rehearsed. It didn’t feel fake,” she says. “I just think that the feelings and the passion and the rage and the sense of urgency is still there.”

Ortiz’s commitment to specificity extended to the family casting, intentionally matching the actors to the real-life relatives they are based on.

“It wasn’t performative. It was actually real because that’s what all of our families look like,” she says. “Puerto Ricans, Dominicans, we just have that diversity because of all the stuff that’s happened in the past.”

Glori’s character also represents a refreshing departure from the way Latina women are often portrayed onscreen. She is a mother, a daughter, a community center worker, an artist — and a woman with a complicated romantic and family history. She is beautiful and desirable, but her sexuality isn’t the defining characteristic of her existence — something we don’t see enough when it comes to Latina roles.

“For me, I didn’t have to step outside of myself for the role, which was really refreshing because every audition that I ever get, I do have to step out of myself because when people write Latinas in Hollywood, they tend to write them one way,” says Rodriguez. “They look a certain way, they talk a certain way, and that’s not the reality of what being Latino, especially in America, is like.”

Rodriguez could freely inhabit a Latina character without feeling as though she had to perform her Puerto Rican-ness for the audience.

“I didn’t feel like I had to perform my Latinidad. I could just exist in it,” she says.

Rodriguez adds she’s ready for a Hollywood that wants Latina actors to have the same range of characterization that white actors have long been afforded. She’s open to seeing Latinas being everything in TV and film, where can they exist in a world in which they can just be people who just happen to be Latinas.

“I really do look for a day when we can just be people and not just be the funny, spicy friend,” she adds. “Some Latinas are not spicy. Some Latinas are nerds, and some Latinas are quirky, and some of them are goofy and some of them are clumsy. And just like everybody gets to see the spectrum of whiteness with all the different kinds of characters, I would love to see that for our people. For all people of color, actually. I think it’s important to see us all as full human beings, and that means that we can be anything.”

The film’s multigenerational story touches on the cultural inheritance passed between mothers, daughters and grandmothers — whether through old traditions or ordinary rituals. It’s something audiences, regardless of background, can likely relate to.

“The most important message that I’ve kept from my [foremothers] was never to lose my sense of Puerto Rico; that, even if I don’t live in Puerto Rico, Puerto Rico lives in me,” she says. So much of that inheritance lives in the little things she remembers about her Puerto Rican grandmother, she says, from the té de tilo she’d make for an upset stomach; the recao that grew on her grandmother’s balcony because she didn’t have a backyard; or the azabache she still wears to this day for spiritual protection. They are the same small traditions she has passed on to her kids.

“My daughter makes better arroz con gandules than all of us,” Rodriguez says. “And her recipe is true to what my grandmother’s recipe was. That will continue to live on, until we are able to go back to our island and live in peace.”

That freedom is one reason Rodriguez believes independent film is so important for stories like “Hurricane Seasons.” Without a studio machine making decisions based primarily on commercial expectations, filmmakers have more room to tell a story on their own terms.

“Once the studio gets involved, they start thinking about dollars, which they got to make money, but they prioritize the dollars,” Rodriguez says. “And I think that’s why a lot of these big projects that they spend a lot of money on have failed because they don’t honor the storytelling. They don’t honor the authenticity of the world, the authenticity of the stories.”

Her hope is that “Hurricane Seasons” encourages more people to tell their own stories — especially Puerto Ricans.

“Puerto Ricans are not a joke; we’re not a punchline. You don’t get to tell us we don’t speak correct Spanish and make fun of our songs. Then, years later, appropriate our culture and become big time doing what we do, using our terms and our colloquialisms because it brings you capital,” she says. “We are people. We’ve been doing this for a very long time, and our grandmothers and our tias and tios matter, and they’re not [a] costume that you can just put on [to] make money off of it.”

Before we wrapped up the call, Rodriguez paused for a moment when I asked her what Puerto Rico means to her. Then her eyes lit up, and her voice softened as she described why the island means so much to her — and why so many people, even outside of the diaspora, find themselves drawn to it.

“Puerto Rico is a very special place, which is why so many people want to kick us out, so they can move [in],” she says. “But they’ll never have the magic, because the magic is us.”

The first player to celebrate with Lewis Koumas in front of the travelling supporters in Linz was Liverpool‘s hat-trick hero in Bradley Barcola.

This time last season, Koumas was on loan at Birmingham in the Championship while Barcola was at Paris St-Germain, who went on to win the Champions League for the second season in a row.

Quite a chain of events led to the pair starting together for Liverpool in their 6-3 win over LASK.

And as Barcola left the Raiffeisen Arena with the match ball after a superb hat-trick, the Frenchman knew that he wasn’t the only player who put the ball in the net three times on Wednesday in Austria.

Koumas had his first two strikes ruled out for offside, but thankfully it was third time luck for the 21-year-old Wales international.

And so, just three days after making his first Premier League start against Manchester City – with Alexander Isak, Cody Gakpo and Hugo Ekitike all injured – Koumas became the youngest Liverpool player to score and assist in a Champions League game.

Previously, the youngest to achieve the feat had been Steven Gerrard in 2001.

When that was put to him, Koumas wanted to know “Is that official?”.

“It’s not a bad stat, is it?” he said. “And it’s not a bad name to be alongside. Wow. What a legend. I just want more of this.”

He is enjoying his run in the first team but staying level-headed about it all, keen to point out: “This is my job.”

“I need to get goals and assists,” he said. “I hadn’t had any before Linz so it was really important to get them.”

In a Liverpool side where attention tends to be directed towards big-money names, Koumas provides a real feel-good story.

He joined Liverpool aged 11 and scored on his first-team debut as an 18-year-old under Jurgen Klopp.

After spells on loan at Stoke, Birmingham and Hull, where he helped the Tigers win promotion last season, Andoni Iraola decided in the first week of pre-season that Koumas was part of his Liverpool plans.

He made his Premier League debut at Newcastle before coming on against Atletico Madrid in the Champions League. He was man of the match on his first start of the season against Tottenham in the Carabao Cup after an energetic performance which left Iraola describing his playing style as “contagious”.

That night, Koumas went straight on a video call with his family after the game and it was the case again in Austria after he scored his first goal of the season.

“It was probably the best feeling in my career, 100%. I’m just really grateful to have the opportunity again,” said Koumas.

“I would not have been a happy man [if I didn’t score], I would have been gutted. I just kept going because I knew the more the game was going on, it was opening up.

“Going over to the fans at the end meant absolutely everything. They are the reason we do this and that we want this job. I wish I could have got in there with them, but there was a big metal cage in the way!”

Manchester United manager Michael Carrick says club have ‘moved on’ from Lisandro Martinez blast before Leeds trip.

Michael Carrick said Manchester United had “moved on” from Lisandro Martinez’s outburst aimed at the club’s hierarchy this week, saying it was “really not a drama for us as a group”.

Argentina defender Martinez took aim at the hierarchy of the struggling club following United’s 2-0 Champions League loss to Atletico Madrid on Tuesday, saying Carrick had been left with an under-strength squad.

The centre-back criticised technical director Jason Wilcox, saying he had “100 percent” expected more investment during the summer transfer window after United finished third in the Premier League last season.

It is understood Martinez has been fined for his outburst, but Carrick said he would be in United’s squad for the Premier League match at Leeds on Sunday.

“It’s done, really,” Carrick said at his pre-match news conference on Friday when asked about Martinez’s comments and his subsequent apology and punishment.

“We’ve moved on from that,” he said. “It was one of those things. He has come out and acknowledged the situation, and as a group we’ve moved on.

“It is really not a drama for us as a group. The boys have trained really well; there was a really good feeling around training this morning.”

Martinez issues apology, but Keane calls Man Utd a ‘circus’

Martinez, 28, issued an apology on Thursday, saying he had held positive talks with the club’s leadership and Carrick.

“Everyone knows that I am a passionate person and that I live football with great intensity,” he said in a post on Instagram.

“The frustration of the defeat led me to express how I felt at a time and place that perhaps were not the right ones, and for that I want to apologise.”

Former United captain Roy Keane branded the situation at his former club as “a bit of a circus”.

United travel to Elland Road, the home of one of their fiercest rivals, with just two wins from nine games in all competitions this season.

They are 13th in the Premier League, with just one win from six matches and drew their last match 1-1 against 10-man Tottenham.

Real Madrid have called for the “immediate resignation” of La Liga president Javier Tebas after he drew comparisons between the club’s management and Nazi propaganda chief Joseph Goebbels.

Tebas said Real Madrid’s communication and the use of its in-house TV channel “recalls propaganda mechanisms exploited by Goebbels”.

Real Madrid have called the statement “deeply offensive” and “morally repugnant”.

The club have also demanded Tebas steps down as both the head of the Spanish top flight and vice-president of the Spanish Football Association (RFEF).

“Real Madrid considers it absolutely intolerable and extraordinarily serious that someone holding two positions of utmost responsibility in Spanish football resorts to a comparison with the propaganda methods of the Nazi regime to discredit our club, its management and its television,” the club said.

In a lengthy post published on X on Friday, Tebas said: “Real Madrid’s management directs an orchestra of mouthpieces and Real Madrid TV leads the singing.

“Their score is always the same: select the plays that suit them, repeat the grievance, feed the suspicion, and point fingers at the enemies.

“That method recalls propaganda mechanisms exploited by Goebbels, Nazi Germany’s minister of propaganda: systematic repetition, construction of an enemy, and subordination of facts to the narrative.”

Tebas later said he was drawing comparison with “those propaganda techniques” and “not with an ideology”.

Real Madrid rejected this clarification, saying it did not mitigate the “institutionally unworthy nature of his statements”.

The club added: “These statements constitute yet another episode in the repeated attacks by Javier Tebas against Real Madrid, its president and its media outlets.”

Last month, Tebas criticised Real Madrid for claiming there was a refereeing conspiracy against the club.

He also has been critical of Real and its president Florentino Perez in previous years after disagreeing with their plans to join a European Super League in 2021.

In 2025 he said Real had “lost their head” after the club sent a formal letter of complaint to the Spanish FA about officiating in the league.

Remember Edward Warchoki? The Polish humanoid robot that went viral in April for chasing wild boars through a parking lot in Warsaw? Even late-night comedian John Oliver did a bit on him, calling Warchoki “a pretty canny PR campaign for anthropomorphic robots. All I’m saying is, ‘That is a nice way to get us all used to him before he’s inevitably one day used as a weapon of war.’ ”

Warchoki has not yet turned into a weapon of war — unless you consider being an online influencer a form of digital warfare. As the first robot influencer, Warchoki has his own social media accounts and appeared at Poland’s parliament. Last week he entered the art world when he was among the first visitors to what looks to be a fascinating exhibition, “How to Feel Real. Art, Technology and Us,” at MO Museum in Vilnius, Lithuania. The show is a collaboration of the modern art museum with ZKM | Center for Art and Media Karlsruhe, which specializes in media art.

According to a news release, the show “explores questions that are becoming increasingly urgent in a world shaped by technology: How do we feel real, and what does it mean to be alive?” Apparently Warchoki was there to address the issue head on.

“People keep asking me if I’m real, so when I heard about an exhibition asking what ‘real’ actually means, I thought: Finally, someone is asking the right question. I’m coming to the beautiful Vilnius to see what the artists have to say — and, of course, to check whether they think I’m real,” Warchocki said in the release.

A number of works in the exhibit explore artificial intelligence, automation, “and the ways machines are increasingly taking on roles we once considered distinctly human,” said MO Museum director Milda Ivanauskienė. “Bringing Edward into the museum is a playful extension of this idea, as his deliberately human-like and slightly absurd persona makes the questions raised by the exhibition tangible — inviting us to wonder why we are so eager to find the human in a machine.”

I am intrigued by this last question and wonder about it myself: Why exactly are we so quick to anthropomorphize AI? Every time I’ve interacted with a chatbot I feel the urge to be polite in my dealings, to say “please” and “thank you” when I ask questions. I certainly don’t do that with a Google search. And once, when I saw a delivery robot hopelessly stuck in a pothole, I felt genuinely bad for it. “Poor little guy,” I thought. I imagine if I met Warchoki, I’d react the same way.

I’m glad MO Museum is exploring these impulses by using artist’s thoughts and interpretations as a way to offer answers to an issue that is not going away — but only growing more powerful and omnipresent by the day.

I hope Warchoki 2.0 isn’t used as a future ICE agent, but I also hope we are not at the dawn of the rise of the robot influencer. Warchoki already has his own line of super gross-looking flavored drink concentrates, as well as snacks like an ice cream, chocolate and popcorn popsicle. This is going nowhere good fast.

I’m Arts editor Jessica Gelt and I’ve got a pickle-kimchi lollipop to sell you. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Elim Chan conducts the L.A. Phil in 2024.

(Gina Ferazzi/Los Angeles Times)

Elim Chan Conducts the L.A. Phil
It will be a busy couple of weekends in L.A. for the San Francisco Symphony music director-designate. First up is a program featuring Dongshoon Shin’s “Dance Card,” Franz Liszt’s “Piano Concerto No. 2 in A major, S. 125” with pianist Yefim Bronfman, and Pyotr Ilyich Tchaikovsky’s suite from “Swan Lake.” Next week will be “A Symphonic Ballet,” with Claude Debussy’s “Prelude to the Afternoon of a Faun, L. 86,” Karen Gomyo premiering Samuel Adams’ “Violin Concerto No. 2 (The Wheel),” and Igor Stravinsky’s “Petrushka (1947).”
“Swan Lake,” 8 p.m. Friday-Saturday, 2 p.m. Sunday. “Symphonic Ballet,” 8 p.m. Thursday, 2 p.m. Oct. 17-18. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Kuniko Kato Presents Reich90
The North American tour of the Steve Reich Project, conceived and produced by Japanese percussionist Kato arrives downtown in honor of the composer’s 90th birthday.
7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu

Victoria Marks : A Deer Walks into a Dance
The award-winning choreographer and four performers (Rian Alcid, Maya Billig, Karen Chuang and Aaron Mason) explore the idea connection in a world of division via movement, text and the deconstruction of a (bad) joke.
8 p.m. Friday-Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd., Westwood. cap.ucla.edu

SATURDAY

L.A. Opera’s new music director, Domingo Hindoyan, conducts a dress rehearsal of “Carmen.”

(Jason Armond / Los Angeles Times)

Carmen
Los Angeles Opera’s new music director, Venezuelan conductor Domingo Hindoyan, opens the company’s season with a new production of Bizet’s “Carmen.” It stars mezzo-soprano Rihab Chaieb, who has dazzled in Mozart at L.A. Opera. The Spanish gothic new production is by director/designer Thaddeus Strassberger and choreographer Antonio Najarro. (Mark Swed) The season-opening performance will be broadcast live in high definition, free of charge, at Steinmetz Park in Hacienda Heights and at the Santa Monica Pier.
Through Nov. 7. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. Free simulcast, 6 p.m. Saturday, Santa Monica Pier and Steinmetz Park, 545 S. Stimson Ave., Hacienda Heights. laopera.org

Strauss, Ravel, Beethoven
Music Director Jaime Martín conducts the Los Angeles Chamber Orchestra in Richard Strauss’ “Metamorphosen,” Maurice Ravel’s “Piano Concerto in G Major” with Conrad Tao, and Ludwig van Beethoven’s “Symphony No. 3 in E-flat Major (Eroica).”
7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

SUNDAY

Dale Brockman Davis, Alonzo Davis and David Hammons.

(Museum Associates)

The Brockman Gallery: Los Angeles,1967-1990
For more than two decades, the Leimert Park gallery, founded by Alonzo and Dale Davis, served as a vital cultural hub, staging exhibitions, festivals, concerts, literary events and more. Named after the brothers’ maternal grandmother, born enslaved, the Brockman Gallery was a flourishing, ongoing act of self-determination in the wake of the 1965 Watts Rebellion. It showcased Black artists whose opportunities were severely limited at mainstream, white-run institutions and galleries: David Hammons, Suzanne Jackson, John Outterbridge, Elizabeth Catlett, Betye Saar, Carrie Mae Weems, Senga Nengudi, Noah Purifoy and many more. More than 60 works by artists associated with the gallery will be included in this first full-scale consideration of the Brockman’s scope and impact. (Leah Ollman)
Through Jan. 24. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

Pacific Jazz Orchestra: A Tribute to Quincy Jones
Led by Chris Walden, and featuring vocalists Nayanna Holley and Adam ‘Aejaye’ Jackson, the ensemble performs early work by the late producer/composer. Presented by Ventura Music Festival,
3 p.m. Sunday. Rancho Campana Performing Arts Center, 4235 Mar Vista Drive, Camarillo. pacificjazz.org

TUESDAY

Mendelssohn & Brahms
Members of the Los Angeles Philharmonic perform a program of chamber works from Joseph Haydn, Felix Mendelssohn and Johannes Brahms.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Ulysse Marion
A new work by choreographer Dimitri Chamblas, created with former Paris Opera Ballet dancer Marion Barbeau and dancer and musician Ulysse Zangs, explores the journey of a performer throughout a life in art.
8 p.m. Tuesday-Wednesday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

THURSDAY

At the Very Bottom of A Body Of Water
The latest work by Benjamin Benne, a dramatist many have been keeping close tabs on, continues his collaboration with veteran director (and fellow L.A. native) Juliette Carrillo, and dives even further into magical realism in an unconventional work exploring the oceanic depths that grief can reveal. (Charles McNulty)
Through Nov. 29. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

Judy Baca, detail from the 1960s segment of the Great Wall of Los Angeles mural.

(Judy Baca and the SPARC Archives.)

Skirball Cultural Center
Three new exhibits open: “The 1960s — A Generation on Fire: Judy Baca’s Great Wall of Los Angeles” presents new murals as part of the evolving L.A. landmark; “Patrisse Cullors: Wishes Made Material” features three new works inspired by conversations between Black and Jewish communities; and “Jenny Yurshansky: What We Carry” explores local immigration stories, memories and family history through collected objects.
Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

The SoCal scene

Zoe Ryan, director of UCLA’s Hammer Museum.

(Christina House/Los Angeles Times)

ICYMI, the best of this week’s L.A. Times arts coverage:

The Hammer’s director, Zoe Ryan, is hoping to make the museum the anchor of a Westside Arts District.

Times theater critic Charles McNulty was not taken by Jaclyn Backhaus’ “Wives,” which opened Sunday at East West Players’ David Henry Hwang Theater.

At 80, artist Lita Albuquerque is not slowing down. She has two upcoming shows: one at the Palm Springs Art Museum, and an installation at A–Z West in Joshua Tree.

K-pop star and Blackpink member Rosé will perform at LACMA’s Art+Film Gala as its musical guest.

Advance reservations for the Samuel Oschin Air and Space Center will go live on Oct. 21 at 9:30 a.m., ahead of its opening on Nov. 13.

Actor Alan Mandell died Tuesday. He was 98.

(Allen J. Schaben / Los Angeles Times)

Alan Mandell, a classical actor and renowned interpreter of playwright Samuel Beckett’s work, died Tuesday at his home in Westwood at the age of 98. McNulty also penned a lovely and personal appreciation of Mandell, whom he felt lucky to have spent time with.

The 2028 Olympic and Paralympic Games are around the corner, yet serious questions remain about funding and coordination for the Cultural Olympiad.

L.A. Opera’s new music director, Domingo Hindoyan is stepping up to the podium for the first time in his new role with the opening of “Carmen.”

Culture News

Climate activists in Tallahassee this week unveiled a statue of Florida Gov. Ron DeSantis that was created to melt. “In response to the Governor’s recent ‘Don’t say climate change’ action in state law, 350Action (one of the world’s most influential climate change advocates) built quite a visual — a statue that couldn’t withstand Florida’s daily climate. It’s provocative but for a purpose, to encourage young people to vote in a few weeks for candidates that recognize the threat from climate change,” a news release noted of the “climate denial statue.”

And finally, not strictly arts related, but some Halloween fun for you: Street Food Cinema is hosting its annual Boo-ze, Bites and Frights events with some spooky horror film screenings at Heritage Square and the Ford over the next few weekends, including a Saturday showing of “A Nightmare on Elm Street,” which is a film that still genuinely terrifies me.

— Jessica Gelt

And last but not least

Speaking of robots — they are now roaming the aisles of local grocery stores.

Former Sale second row Hyron Andrews has died at his Johannesburg Lions’ team hotel before their Champions Cup match at La Rochelle on Saturday.

A statement from SA Rugby stated that his death had been an “accident” and that the 31-year-old had “died after a fall”.

“We are heartbroken by the passing of Hyron,” said Lions chief executive Rudolf Straeuli.

“He was not only a gifted rugby player, but also a cherished member of our Lions family having recently joined us this season.

“On behalf of our chairman, Mr Altmann Allers, the board and everyone at the Lions, I extend our deepest sympathies to [Andrews’ wife] Maighlin, their young sons Hendrix and Emerson and the entire Andrews family.

“We stand with them in their sorrow and will remember Hyron with great affection and respect.”

The Lions will fulfil their fixture against La Rochelle, which kicks off at 17:30 BST, in Andrews’ honour, while a moment’s silence will be observed at all the opening round’s fixtures.

“This is terrible and distressing news; our hearts go out to Hyron’s family and the whole Lions rugby community,” said Mark Alexander, president of the South African Rugby Union.

“There are no words to adequately convey our shock and the depth of sympathy we feel for his wife Maighlin, and for his extended family, friends, team-mates and loved ones during this time of immense sorrow.

“His untimely passing is a devastating loss, and we share in the grief of all who knew and loved him.”

Andrews left Sale in the summer to return to his native South Africa. He made 45 appearances for the club after arriving in February 2024 from the Durban-based Sharks as injury cover for England international lock Jonny Hill.

“Hyron was just a brilliant guy and a brilliant team-mate,” said Sale director of rugby Alex Sanderson.

“He was so skilled on the field but off it, he was always someone you would want to have a beer with.

“He was funny and charismatic in his own unique, dry way and the lads, to a man, loved playing with him and being around him.

“It was a big move for Hyron and his wife Maighlin to come to England, but he truly made a second home in Manchester. It was incredible to see how he and his family embraced the club and area.

“Most importantly, he was a loving husband to Maighlin and a doting father to his two gorgeous boys. It was an absolute privilege to get to know him and it’s just absolutely devastating for everyone.”

While he was yet to earn senior international honours, Andrews had represented the Junior Springboks in 2015.

Andrews’ death comes 10 years on from the sudden death of Munster coach Anthony Foley in Paris before a Champions Cup fixture.

Foley, 42, died in his sleep on the eve of a match against Racing 92 after a heart condition caused fluid to build up in his lungs.

Munster’s present-day players will wear commemorative tops, featuring the Munster club crest and Foley’s shirt number eight as part of their pre-match routine at their match against Racing on Saturday.

The Lions, who play their home matches at Ellis Park, are making their first appearance in Europe’s premier club competition, with South African sides introduced into the continental competition in the 2022-23 season.

They have won two of their first three matches in the United Rugby Championship so far this season, including beating defending champions Leinster in their first game of their campaign.

Just visiting a page or refreshing an app can be enough to fall victim to a malware attack in which your personal data is stolen from a laptop or phone, researchers have found. You are not even required to “click” on anything.

An Israeli spyware firm has been found to be behind the first-known instance of “zero-click” targeted advertising in which fraudsters or spies can steal private data and send it to external servers, with Al Jazeera journalists among the victims.

In June 2025, 45 devices used by Al Jazeera staff – including several who reported on sensitive subjects – were targeted with spyware which installed itself without the need to open or download any files.

An investigation by the Canada-based academic research unit Citizen Lab, prompted by Al Jazeera’s initial internal probe into the issue, discovered that the Israeli company Candiru was behind the attacks.

Analysts say the findings are “incredibly concerning”, as they confirm the existence of a new global security threat. “We knew we were headed in this direction and now it is out in the public,” Remesh Srinivasan, professor of information studies at the University of California in Los Angeles, US, told Al Jazeera.

“This is the next level, because people are being microtargeted,” he said. “This is the point we’ve come to when it comes to surveillance.”

How ‘zero-click’ malware works

Al Jazeera’s in-house technology team first discovered unusual patterns on devices used by some journalists in 2024. Analysis of network logs provided to the Citizen Lab by Al Jazeera in 2025 provided a clear temporal signature of how the attack was executed.

Malicious advertisements were bought by Discover-Tech, an Israeli company presenting itself as a legitimate advertising firm, but which actually operates as a facilitator for mercenary spyware partners.

Its advertisement network identified Al Jazeera staff, then quietly redirected them to an infected server belonging to Candiru. The spyware firm was blacklisted by the US government in 2021, when Citizen Lab found it was responsible for the illegal hacking and surveillance of at least 100 activists, journalists and political activists across 10 countries.

Al Jazeera Media Network has condemned the targeting of its staff members’ devices and called for those responsible to be held accountable.

Cybersecurity analyst and author Eddy Willems said the advertisements used automatically infect devices the moment they pop up on the screen, but there is an important technical nuance. “Executing code inside the browser does not automatically give an attacker full control over the computer,” Willems told Al Jazeera.

“To escape the browser’s isolated environment – the ‘sandbox’ – the attacker may need a second vulnerability,” Willems said, adding that an advanced spyware operation can combine several vulnerabilities.

“The attacker attempts to exploit vulnerabilities to bypass security boundaries. This is precisely what makes this type of attack so dangerous,” the analyst said.

Once the device is infected, the malicious software is designed to collect a wide range of sensitive data, including files, documents, and browser data such as cookies, bookmarks, and saved credentials.

It can also capture keystrokes, take screenshots, record microphone and webcam input, and extract emails and messages from popular communication platforms. To avoid triggering security mechanisms, the spyware often uses encrypted communication channels and breaks up stolen data into smaller chunks sent over time.

Advertising: A new global security threat?

Analysts say Citizen Lab’s findings point to the escalation of an existing threat, which expands the scale and reach of traditional cyberattacks and makes them much harder to detect.

While “zero-click” attacks are not completely new, the findings outline a new technique through which online advertisements are used as a route to infection.

Stephen O’Shaughnessy, a lecturer in cybersecurity at the TU Dublin Blanchardstown campus in Ireland, explained that when a user opens a website or app, an automated auction sells the advertisement space in a fraction of a second. That auction shares data about the victim, including the device ID, IP address, rough location and the app or site they are on.

“Discover-Tech posed as an ordinary advertiser, used that data to find their target and win the auction for that person’s screen,” O’Shaughnessy told Al Jazeera. “Anyone with a phone or browser that shows ads can be reached, without the attacker needing their phone number or email.”

“Because no message or link is involved, there is almost nothing for the victim to notice,” he added.

Discover-Tech appeared on lists of “certified” and “approved” vendors maintained by Google and advertising industry association IAB Europe, and has served advertisements via major networks such as Google, Yandex and Beeswax.

In its report, Citizen Lab said this illustrates the structural flaws in the online advertising system, which essentially failed to detect or prevent the abuse.

Discover-Tech advertisements have popped up on devices used by personnel in national-security-sensitive networks around the world, including those of various ministries of defence, armed forces, national cyber agencies, intergovernmental organisations and media outlets, Citizen Lab found.

The research unit said these advertisements have also appeared on networks used by the United Nations, NATO, the European Parliament, the European Commission and the Council of the European Union’s General Secretariat.

‘Almost nobody was watching’

Government networks have also been targeted in at least 24 countries, including the United States, Italy, Denmark, Norway, Australia, Russia, Mexico and Israel itself. Networks of media organisations have also been targeted, mainly in Australia, Denmark and Sweden, according to Citizen Lab.

In a separate report, New York-based advertising security firm Confiant said its own investigations had found that some of Discover-Tech’s advertisements also appeared in critical networks used by the Pentagon, the United Nations International Atomic Energy Agency and the International Criminal Court.

O’Shaughnessy said infection has not been confirmed there – only profiling of users. “But that alone is concerning, he said. “The ad system was built to send code from strangers to billions of screens with pinpoint targeting. Almost nobody was watching it from a security angle.”

The analyst said the risk remains low for most people as these attacks are expensive and aimed at specific targets. “For individuals at high risk, like journalists and officials, the best first defence is to install an ad blocker, switch off their advertising ID through their phone’s privacy settings, keep everything updated, and turn on Lockdown Mode or Android’s Advanced Protection,” he said.

Precautions also need to be taken within the industry and at government level. “To combat this, the ad industry needs to properly vet who’s buying ads,” O’Shaughnessy said, while “regulators need to stop personal data being sprayed out to thousands of unknown bidders in every auction.”

BUS fares are set to soar to a historic high in November, affecting millions of workers.

A single adult bus and tram fare in London will rise by 10p to £1.85 from next month, Transport for London (TfL) has announced.

It means the cost of fare has gone up by 35p alone in the last 10 years, although there has been a freeze on price hikes in place since March 2023.

Those with concession cards, like 16+ Zip Oyster cards or the Jobcentre Plus card, will also have their fares increase by 5p when the new prices come into effect on November 1.

In a blow to millions of people who use London’s bus and tram network every day, the hike will also affect the Hopper fare, which allows travellers to pay a single flat fare for unlimited journeys within an hour.

The daily bus and tram cap will increase to £5.55 from £5.25.

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Originally, London Mayor Sir Sadiq Khan was set to hike prices in July.

But he extended the price freeze until November, after TfL said it was “an emergency cost-of-living measure to support Londoners on the lowest incomes”.

Price caps for tube, rail and Travelcards will remain frozen until March next year, TfL added.

Meanwhile, a new £2 price cap for all single bus tickets in England will come into force from January 1 2027, Prime Minister Andy Burnham announced.

The voluntary scheme will see millions of people across England able to access single bus tickets for £1 less than the current £3 cap – but it won’t apply to every single bus route.

School buses, buses that only run on school days and some other services won’t be subjected to the £2 cap, which will run until December 31, 2027.