News Desk

Reed Hastings, who helped launched Netflix from a fledgling DVD mail-order business into a global streaming juggernaut, plans to exit the company after nearly three decades.

Hastings will leave the company he co-founded to focus on philanthropy and other efforts, the streaming company announced said Thursday.

Hastings, who serves as chairman of the Los Gatos company’s board, told Netflix he will not stand for reelection when his term expires in June, Netflix said in a letter to shareholders timed to its fiscal first-quarter earnings.

He said the commitment of Netflix Co-Chief Executives Ted Sarandos and Greg Peters was “so strong that I can now focus on new things.”

Peters described Hastings, 65, as the company’s “biggest champion,” and that he “is a part of our DNA.”

Sarandos called Hastings a “true history maker,” saying in a statement that Hastings’ “selfless, disciplined leadership style” will continue to shape Netflix’s path ahead.

Hastings’ exit was not unexpected as his role in the company diminished after he stepped aside as co-chief executive of Netflix in 2023.

During his tenure, Hastings oversaw the substantial growth of the streaming colossus. Today, Netflix has a market cap of about $455 billion, more than double that of the Walt Disney Co.

“My real contribution at Netflix wasn’t a single decision; it was a focus on member joy, building a culture that others could inherit and improve, and building a company that could be both beloved by members and wildly successful for generations to come,” Hastings said in a statement.

For the first quarter of 2026, Netflix reported nearly $12.3 billion of revenue, up 16% compared to the same time period a year ago. Operating income grew 18% to $3.9 billion for the three-month period ending March 31.

Both figures were ahead of the company’s guidance, a feat the streamer attributed to slightly higher than expected subscription revenue.

The company reported net income of $5.3 billion, up more than 80% compared to the $2.9 billion it recorded during the same period last year. Earnings per share was $1.23, up from 66 cents last year.

Netflix said it continues to expect 2026 revenue ranging from $50.7 billion to $51.7 billion, with an operating margin of 31.5%.

The earnings release and the Hastings announcement came after markets closed.

Netflix shares closed at $107.79, virtually unchanged. After hours, the shares dropped more than 8% to $98.26. They have climbed about 18% this year.

The Los Gatos-based company had previously secured an $82.7-billion deal to buy Warner Bros. studios and streaming services in December but it withdrew from the bidding war in late February after Paramount Skydance offered $31 a share. As part of the switch, Netflix was paid a $2.8-billion termination fee.

“Warner Bros. would have been a nice accelerant for our strategy, but only at the right price,” Netflix said in its investor letter. “We have multiple ways to achieve our goals (including producing, licensing, and partnering) and we’re constantly seeking to allocate our resources to the most attractive opportunities to maximize the value we are delivering to our members.”

Before Reed Hastings revolutionized the global entertainment business, he sold Rainbow vacuum cleaners door-to-door during his gap year between high school and Bowdoin College, where he earned his bachelor’s degree in mathematics.

During his sales pitch, Reed would first clean a homeowner’s carpet with their vacuum and then demonstrate how to clean using a Rainbow. The job helped hone his ability to understand customers, a core foundation of Netflix’s user-driven, candor-obsessed culture.

After Bowdoin and before he earned his master’s degree in computer science at Stanford, Hastings served in the Peace Corps (he also did a stint in the Marines) teaching high school math in Swaziland (now Eswatini).

“Once you have hitchhiked across Africa with ten bucks in your pocket, starting a business doesn’t seem too intimidating,” he told Time magazine.

While those experiences helped shape Hasting’s business sense, it was a late fee for a video that became the catalyst for launching Netflix, upending the way viewers consumed content and disrupting how Hollywood does business.

As the story goes, Hastings had misplaced a VHS tape of “Apollo 13” racking up a hefty $40 charge.

It was 1997 and his company Pure Software had just been acquired. It dawned on him that a gym membership offered a better business model, than the average video store — where you paid a set fee for the month and you could work out as much or as little as you liked. He thought, why not apply that to the movie rental business?

Netflix, began in Scotts Valley, Calif., as a mail-order business. Customers paid a tiered monthly fee to rent DVDs online which were delivered by mail.

The business exploded racking up millions of customers as it jettisoned the post office to an internet-based business. As the business accelerated across the world it also expanded, creating original content such as award-winning blockbusters such as “Stranger Things” and “House of Cards.”

The company’s innovation extended internally too. Hastings became known for implementing a unique and controversial culture of radical transparency, where employee evaluations are brutally candid and average performances can be grounds for termination.

The concept was a central theme of his 2020 book “No Rules Rules: Netflix and the Culture of Reinvention,” written with business professor Erin Meyer.

Times staff writers Meg James and Wendy Lee contributed to this report.

April 18 (UPI) — Pope Leo XIV said he has no interest in debating President Donald Trump as he flew to Angola for the third leg of his 11-day trip to Africa.

In Cameroon on Thursday, Leo told attendees at a prayer meeting that the world was being “ravaged by a handful of tyrants.”

“The masters of war pretend not to know that it takes only a moment to destroy, yet often a lifetime is not enough to rebuild,” he said.

While traveling on the papal plane from Cameroon to Angola Saturday, Leo said his words were not an attack on Trump or his actions in Iran.

He told reporters that his speech was written “weeks ago, well before the president ever commented on myself, and on the message of peace I am promoting,” NBC News reported. “It looked like I was trying to debate the president, which is not my interest at all.”

Last Sunday, Trump lashed out at Leo over his criticism of the war in Iran, claiming a reason the American was named pontiff was because the Catholic Church was trying to curry favor with his administration.

Leo responded saying, “I have no fear of the Trump administration or of speaking out loudly about the message of the Gospel, which is what the Church works for.”

Aboard the plane Saturday, Leo vowed to “promote peace in our world,” and said that his Africa trip is to “be with, to celebrate with, to encourage and accompany all of the Catholics throughout Africa.”

Leo landed in Luanda, Angola, around 3 p.m. WAT Saturday and was welcomed by President João Manuel Gonçalves Lourenço.

The pope met with Angola’s authorities and others at the Presidential Palace in Luanda Saturday. In his speech, he acknowledged those who were affected by recent flooding in the Benguela Province, a coastal area south of Luanda. More than 30 people were killed.

He said he is praying for the victims and noted the national response, that Angolans are “united in a great chain of solidarity in support of those affected.”

Leo said the country’s most important resources are not material but human. “Your people possess treasures that cannot be sold or stolen. There is within them a joy that not even the most adverse circumstances have been able to extinguish,” he said.

The pope is scheduled to celebrate mass at Kilamba, a Luanda suburb, before travelling to the Shrine of Muxima. On Monday, he will travel to Saurimo, where he will visit the elderly and celebrate mass, before returning to Luanda. Tuesday morning, he travels to Equatorial Guinea for his final stop on the trip.

Follow the live build-up, with full team news coverage, ahead of our text commentary stream of the crunch EPL clash.

Bombs are in and art is out as the Trump administration’s proposed 2027 budget requests $1.5 trillion in defense spending (up 44% from last year), while again attempting to snuff out the National Endowment for the Arts and the National Endowment for the Humanities, as well as the Institute of Museum and Library Services.

The budget proposal released earlier this month calls for just enough money to permanently wind down the operations of each agency: $29 million for the NEA (down from $207 million); $38 million for the NEH (down from $207 million); and $6 million for the IMLS (down from $291.8 million).

Congress has the final say about whether or not these cuts actually get made, and Sept. 30 is the deadline to pass next year’s budget. (Failure to do so could result in yet another government shutdown.) It’s worth remembering that Trump tried to defund these organizations last year and was thwarted by Congress. But the administration did successfully choke off funding for the Corporation for Public Broadcasting, which ceased operations in January.

It’s hard to know how this renewed threat to agencies that collectively support thousands of arts programs and initiatives across all 50 states, Puerto Rico and Washington, D.C., will play out, especially because the only constant in this administration is its mercurial temperament. Plus, Congress doesn’t have a great track record of keeping Trump in check (see Venezuela, Iran, the White House East Wing, the Kennedy Center, etc.). The ongoing war in Iran, which pundits warn could last until the midterms, may also impact how Congress decides to vote.

In times of conflict and chaos, we need the arts — a sentiment so obvious it normally goes without saying. But this moment somehow feels different. There were many alarming moves that Trump wanted to make during his first term that the so-called adults in the room allegedly kept him from achieving. Those adults are gone and he is now surrounded with enablers. This means the unthinkable is now possible — as we have seen time and again over the past 15 months.

In a country without the NEA, NEH and IMLS, hundreds of small local arts groups would likely cease to exist entirely — and with them, the community, education and enlightenment that underpin our increasingly fragile, fractured society. We can close our eyes until it happens, or we can start urgently ringing the alarm bells. I vote for the latter. Here’s a link to get you started.

I’m Arts editor Jessica Gelt banging a gong. This is your arts and culture news for the week.

Dispatch: mots take on AI at Flux Festival

A participant experiences “The Pledge,” part of artist duo mots’ acclaimed “AI & Me” series, on view April 25 at Blum Gallery, Culver City, as part of Flux Festival.

(mots / Daniela Nedovescu and Octavian Mot)

Artist duo mots is staging one of its exploratory AI-centered exhibits — “The Pledge” — at the upcoming Flux Festival at Bloom Gallery in Culver City (April 24 and 25). Last year, mots received quite a bit of attention for its U.S. premiere of “AI & Me,” part of Tribeca Festival’s Immersive Program. That piece, according to mots website, “dives into the weird dynamics between humans and artificial intelligence,” by placing people in a confessional style booth while AI tells them exactly what it thinks of them.

“The Pledge” takes that concept further by inviting participants to stand on a stage while AI-generates a statement about them— one that is solely based on appearance. The person then must decide whether to read the AI feedback aloud into a microphone or leave. If you decide to share, you become part of the permanent video installation.

In this moment of deep AI anxiety, the mots’ work is tapping into more than just a playful back and forth between man and machine.

“On one hand, we’re thrilled to see people lining up to interact with the pieces we build; on the other, we’re trying to gather the courage to destroy them and stop this madness before it’s too late,” the mots write on their website.

— Jessica Gelt

Dispatch: Monster Party

The adult-centric interactive melodrama “Monster Party,” at Rita House through April 25.

(Clint Keller)

“Monster Party” starts with a moment of ecstasy. Then the adult-centric interactive play gets demented — a bit demonic, even. We meet characters shrouded in mystery. Guests at a cocktail party, there’s a writer working on a book about supernatural creatures, a vacuum salesman with a closely guarded secret, a repressed religious fanatic and more. None of them can remember how or why they ended up at this soiree, hosted by the confidently cryptic Baroness, a character who clearly delights in creating sin and madness. We’ll soon find out this isn’t an event for the lucky.

But that’s not just what makes “Monster Party” special. Remounted after a short theatrical run in 2024, the work from immersive creator Matt Dorado intermixes the personal and political. Lurid, humorous and sexy, “Monster Party” is also a scathing critique of how political systems can drive one mad.

Set during the Lavender Scare, the anti-communist purge of LGBTQ+ people from the U.S. government in the 1950s, “Monster Party” opens with camp and then descends into very real horrors of life in the United States. You’ll drink, play parlor games and gradually uncover one dark skeleton after another.

The intimate production is limited to 50 guests per showing, and cocktails are included in the $159.45 ticket. Come ready to socialize.

8 p.m. Thursdays and Friday; 3 and 8 p.m. Saturdays, through April 26. Rita House, 5971 W. 3rd Street monsterpartyshow.com

— Todd Martens

The week ahead: A curated calendar

FRIDAY
Chaya Czernowin
Monday Evening Concerts presents the U.S. premiere of the Harvard-based Israeli composer’s “Poetica,” which she describes as “a journey of one into themselves,” performed by percussionist Steven Schick and the percussion ensemble Red Fish Blue Fish.
8 p.m. Zipper Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. mondayeveningconcerts.org

The Last Days of Judas Iscariot
O.C. theater companies the Wayward Artist and Larking House team up for Stephen Adly Guirgis’ bold, darkly comedic courtroom drama set in Purgatory. Directed by Lizzy McCabe.
7:30 p.m. Friday and Saturday and April 23-35. Irvine United Congregational Church, 4915 Alton Pkwy., Irvine. thewaywardartist.org

Harry Fonseca
“Portrait of the Artist as a Young Coyote,” an exhibition of more than 30 paintings, prints and works on paper, follows the path of the late Native artist’s alter-ego, the Trickster Coyote, an exploration of his own identity and a means of challenging existing narratives. Also being exhibited is “Sedej Tuulémisé (Blood Relations),” featuring paintings by emerging artist Deerstine Suehead.
Noon-5 p.m. Tuesday-Saturday, through July 3. PDC Design Galleries, 750 N San Vicente, West Hollywood. pacificdesigncenter.com

Ryan Bancroft will conduct the L.A. Phil this weekend at Walt Disney Concert Hall.

(Carlin Stiehl/For The Times)

Shostakovich & Sibelius
Ryan Bancroft conducts the Los Angeles Philharmonic with cellist Alisa Weilerstein playing one of her specialties, Shostakovich’s “Second Cello Concerto.”
8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Liu Xiaodong
For the work presented in the exhibition “Host,” the figurative painter trained his eye on a Detroit tattoo artist with a penchant for medieval battle recreations.
10 a.m.-6 p.m. Tuesdays-Saturday, through June 13. Lisson, 1037 N. Sycamore Ave., L.A. lissongallery.com

SATURDAY
Back to Oz
MUSE/IQUE salutes a truly American fairy tale through music with pieces from “The Wonderful Wizard,” “The Wiz,” and “Wicked,” performed by Carmen Cusack, LaVance Colley, Nathan Granner, DC6 Singers Collective and the MUSE/IQUE Orchestra.
5 p.m. Saturday and Sunday; 7:30 p.m. Thursday and April 24; 2:30 and 7:30 p.m. April 25; and 2:30 p.m. April 26. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. muse-ique.com

Colored People’s Time: A History Play
From Civil War to civil rights, Leslie Lee’s drama, directed by Ben Guillory, examines the lives of Black Americans through a century of struggle.
8 p.m. Thursday-Saturdays; 3 p.m. Sundays, through May 17. Los Angeles Theatre Center, Theatre Four, 514 S. Spring St., downtown L.A. therobeytheatrecompany.org

The Expanding Field: MOCA’s Collection from the 1940s to 1970s
Works by Mark Rothko, Luchita Hurtado, Piet Mondrian, On Kawara, Robert Rauschenberg, Betye Saar, Anne Truitt and others illustrate the breadth of the museum’s holdings.
Saturday through Sept. 20. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org

Falstaff
Craig Colclough stars in LA Opera’s production of the energetic Verdi comedy about two wives turning the tables on an unwanted suitor in merry olde England.
7:30 p.m. Saturday; 2 p.m. April 26; 7:30 p.m. April 30, May 2 and 6; 2 p.m. May 10. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

Steven Culp and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

For Want of a Horse
Olivia Dufault’s comedy about an unusual love triangle involving a horse opens Echo Theater Company’s 2026 season. Directed by Elana Luo.
Opening night, 8 p.m. Saturday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; 8 p.m. Mondays, through May 25. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

Hear Now Music Festival
A chamber concert doubleheader (separate admissions): The matinee features Lyris Quartet, Brightwork Ensemble and HEX performing Hugh Levick’s “No Pasaran” for brass quintet; Ania Vu’s “Small Tenderness” for vocal ensemble and string quartet; Liviu Marinescu’s “String Quartet No. 1”; Bryan Chiu’s “Anthology” for piano and horn; and Tom Flaherty’s, “Recess” for string quartet. Lyris Quartet and Brightwork Ensemble return for the evening show with mezzo-soprano Peabody Southwell, and the music of Peter Knell, “Canciones de Agua” for mezzo-soprano and violin; Sean Heim, “there is no such thing as time” for mixed ensemble; Vera Ivanova’s “The Firebird’s Feather,” for flute solo; and Jordan Nelson’s “Join” for string quartet.
Chamber Concert 1, 3 p.m. (2 p.m. preview); Chamber Concert 2, 8 p.m. (7 p.m. preview). First Lutheran Church of Venice, 815 Venice Blvd. hearnowmusicfestival.com

Claudia Keep
In the exhibition “Water, Water, Everywhere,” the painter finds fascinating details in the life-giving liquid and all its forms, including rivers, ocean waves, clouds and afternoon coffee.
Opening reception, 4-6 p.m. Saturday; the exhibition runs through May 30. Parker Gallery, 6700 Melrose Ave., L.A. parkergallery.com

Kinship & Community: Selections from the Texas African American Photography Archive
The exhibition, a collaboration between Art + Practice and the California African American Museum, shares the work of Black photographers who documented life in the urban neighborhoods and rural villages of eastern Texas from 1944 to 1984. Saturday evening, exhibition curator and NYU professor Nicole R. Fleetwood and Getty Research Institute curator LeRonn P. Brooks will discuss the exhibition and the volatile time of great change that it captures.
The exhibition opening is 11 a.m.-5 p.m. Saturday and runs through Sept. 5. Art + Practice exhibitions space, 3401 W. 43rd Pl. L.A. Conversation, 6-7:30 p.m. Saturday. Art + Practice programs space, 4334 Degnan Blvd., L.A. artandpractice.org

Majestic Tango
Directed and produced by Miriam Larici and Leonardo Barrionuevo, this program features 13 dancers and six musicians using music, movement and storytelling to convey the passionate energy of Buenos Aires.
8 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org

Richard Mayhew, “West Bay,” 2004 Oil on canvas 36” x 48’.

(© Estate of Richard Mayhew. Courtesy the Estate and Karma)

Richard Mayhew
“Understory” surveys the artist’s work created between 1960 and 2023, when he saw his expressive landscapes as “an artistic reclamation of the land stolen from his Black, Shinnecock, and Cherokee-Lumbee ancestors.”
Opening reception, 6-8 p.m. Saturday; exhibition runs through May 30. Karma, 7351 Santa Monica Blvd., L.A. karmakarma.org

Natural HERstory
Drag performance meets real science in this 30-minute STEAM musical, developed by Drag Arts Lab and the Natural History Museum of Los Angeles County, and designed to engage elementary-aged learners.
11 a.m. Annenberg Community Beachhouse, 415 Pacific Coast Hwy., Santa Monica. eventbrite.com

Parsons Dance
David Parsons’ New York City-based troupe marks its 40th anniversary with a program set to the music of Milton Nascimento; Giancarlo De Trizio; Champion, Four Set & Skrillex (featuring Naisha); Miles Davis; Sheila Chandra; and Yusuf/Cat Stevens
7:30 p.m. Saturday; 2 p.m. Sunday. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org

The Storyteller of East LA
The Latino Theater Co. has the world premiere of Evelina Fernández’s magical realist drama about a 90-year-old woman with dementia and the challenges faced by her family and caregivers. Directed by Jose Luis Valenzuela.
8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through May 17. Los Angeles Theatre Center, 514 S Spring St., downtown L.A. latinotheaterco.org

Verdi in España
The Verdi Chorus performs sequences from the composer’s operas “Don Carlo,” “Il Trovatore,” “La Traviata” and “Ernani,” alongside Bizet’s “Carmen” and selections from Spanish composers Catán, Granados, Giménez, Torroba and De Falla.
7:30 p.m. Saturday; 4 p.m. Sunday. First Presbyterian Church, 1220 2nd St., Santa Monica. verdichorus.org

SUNDAY
Mozart’s Requiem
Grant Gershon conducts the Los Angeles Master Chorale in Mozart’s final masterpiece, plus the West Coast premiere of Fanny Mendelssohn’s “Oratorio on Scenes from the Bible.”
7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY
Yuja Wang and Mahler Chamber Orchestra
The celebrated pianist continues her long-standing collaboration with MCO for a program featuring works by Segei Prokofiev and Alexander Tzfasman.
8 p.m. Tuesday. McCallum Theatre, 73000 Fred Waring Dr., Palm Desert; 8 p.m. Wednesday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa; 7 p.m. Thursday. Granada Theatre, 1214 State St, Santa Barbara; 8 p.m. April 25. The Saroya, 18111 Nordhoff Street, Northridge. mahlerchamber.com

WEDNESDAY
Khorus Harmonia
Katey Sagal and Kurt Sutter are producing ten performances of this choral concert to benefit the Coalition for Humane Immigrant Rights and The Wounded Warrior Project.
8 p.m. Wednesdays-Saturdays; 4 p.m. Sundays, through May 2. Hudson Backstage Theatre, 6539 Santa Monica Blvd. onstage411.com

This Ends Badly
The theater collective Frank’s presents an evening of short plays by Frank Demma, Marlane Meyer, John Pellech, John Pollono, Benjamin Weissman and Sharon Yablon.
8 p.m. Wednesdays, through May 13. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com

Arts anywhere

New and recent releases of arts-related media.

The British Museum in London.

(Kin Cheung / Associated Press)

British Museum
As excitement builds for the opening of the new Geffen Galleries at LACMA on Sunday (for priority members; May 4 for the general public), one’s appetite may be whetted to visit other museums. Why not start in London with the British Museum? The sprightly 273-year-old institution boasts a collection of eight million works and draws more than six million visitors each year. But there’s no need for a plane ticket or a Tardis to see it. Google Arts & Culture offers virtual tours that allow you to wander the halls and grounds for free (and it won’t rain!). artsandculture.google.com

Philip Glass

Two opportunities to see the work of one of the finest American composers will soon be available with the click of a button or a tap of a screen. First up is “The Complete Philip Glass Piano Etudes featuring 10 Pianists” (which was performed at Walt Disney Concert Hall in 2024) streaming live from the 3,500-seat Hill Auditorium on the campus of the University of Michigan in Ann Arbor. 4:30 p.m. Saturday and on demand through April 28. youtube.com

Six days later, the Paris Opera offers its current, sold-out production of “Satyagraha,” Glass’ revelatory, triptych portrait of Gandhi. Directed by choreographers Bobbi Jean Smith and Or Schraiber, with a cast including Anthony Roth Costanzo and Davóne Tines — all four members of AMOC*, American Modern Opera Company — the show will be presented live on the Paris Opera Play streaming platform (for $14) at 10:30 a.m. April 24. POP’s live broadcasts are typically available on demand for 30 days following transmission. play.operadeparis.fr

— Kevin Crust

Culture news and the SoCal scene

Pooya Mohseni, from left, Ava Lalezarzadeh, Tala Ashe and Marjan Neshat in “English” by Sanaz Toossi at the Wallis Annenberg Center for the Performing Arts.

(Joan Marcus)

With the U.S. at war with Iran, “This is an important moment to experience ‘English,’ Sanaz Toossi’s Pulitzer Prize-winning drama, set in an English-language classroom outside of Tehran in 2008,” writes Times theater critic Charles McNulty. “The play, now having its L.A. premiere at the Wallis Annenberg Center for the Performing Arts, reminds us of the lives — the hopes, the dreams, the sorrows — on the other side of the headlines.”

It’s been an anxious journey for Bob Baker Marionette Theater since 2019 when it was forced out of its downtown home of 55 years. After a lengthy search, the nonprofit signed a 10-year lease for a former cinema-turned-Korean Church in Highland Park. With that, however, came the accompanying stress of being renters in L.A. But good news has arrived: the beloved theater “has entered into an agreement to purchase its [current] home at the corner of York Boulevard and North Avenue 50,” reports Times features columnist Todd Martens.

The Samuel Oschin Air and Space Center is a major expansion of the California Science Center.

(Myung J. Chun/Los Angeles Times)

California Science Center has completed construction on its new $450-million Samuel Oschin Air & Space Center, which houses the Endeavor shuttle. Staff writer Malia Mendez headed onsite to get the scoop on the, “sleek 20-story, 200,000-square-foot new building rising over Exposition Park,” nearly doubling the museum’s exhibition space.

The impossibly trendy SoCal health food retailer Erewhon is launching a cafe at Los Angeles County Museum of Art’s new David Geffen Galleries. And, like almost everything about the new building, public opinion is split on whether or not that’s a good idea.

Architecture writer Sam Lubell put together a fascinating Q&A with Peter Zumthor in which the Geffen Galleries’ architect addresses a number of ongoing criticisms about his creation, including its loss of square-footage.

In case you missed it: Pop singer Pink has will host the 79th Tony Awards. “The award ceremony returns to New York City’s Radio City Music Hall on June 7, with nominations announced May 5,” writes Times reporting fellow Iris Kwok.

Nathan Peterson, Cell 63 Flyer, May 29, 1992, displayed in CSUN Art Galleries, which received a Mike Kelley Foundation grant.

(© Nathan Peterson, Punk Arts & Culture)

It’s been a decade since the Mike Kelley Foundation for the Arts began awarding Infinite Expansion Grants to local contemporary arts organizations. The money has always mattered, but means even more during a time of great uncertainly about federal support for the arts (as I wrote in my newsletter intro). This year’s round of grantees was just announced, with nine L.A. contemporary arts groups sharing $400,000 in support. These groups, a news release says, “exemplify risk-taking, critical inquiry, and community engagement,” and include Art in the Park Community Cultural Programs; Color Compton; Cal State University, Northridge Foundation on behalf of CSUN Art Galleries; Barnsdall Art Park Foundation on behalf of Los Angeles Municipal Art Gallery (LAMAG); Los Angeles Performance Practice; Monday Evening Concerts; Clockshop; Institute of Contemporary Art, Los Angeles (ICA LA); and the Vincent Price Art Museum Foundation.

Big change is coming to the Soraya and California State University, Northridge. Artistic and Executive Director Thor Steingraber, is leaving his position after 12 years to become president and chief executive at Vivo Performing Arts in Boston. The Soraya has also announced Steingraber‘s replacement: Chad Hilligus. Hilligus arrives at CSUN from the Gallo Center for the Arts in Modesto where he served as chief executive and curated more than 100 multidisciplinary live performances.

And another leadership shakeup has come to the Los Angeles Master Chorale, which announced that its current president and chief executive, Scott Altman, will step down on June 5 to become executive director of Miami City Ballet. Master Chorale board member William Tully will serve as interim president while the group launches a national search for a replacement.

— Jessica Gelt

And last but not least

It doesn’t get much weirder than this: Hegseth recites ‘Pulp Fiction’ speech at Pentagon prayer service

Maria Corina Machado gave Trump her Nobel Peace Prize after the US leader captured Nicolas Maduro.

Venezuela’s main opposition leader Maria Corina Machado says she has “no regrets” about giving US President Donald Trump her Nobel Peace Prize medal.

Machado, the 2025 recipient of the prestigious prize, presented the medal that accompanies the prize to Trump when she met him at the White House in January, two weeks after he ordered US special forces to seize Venezuelan President Nicolas Maduro from Caracas.

Trump’s military operation to remove Maduro, who is currently detained in the US facing drug trafficking charges, is “something we Venezuelans will never forget”, she was quoted by AFP news agency as saying at a conference in Madrid on Saturday.

“There is a leader in the world, a head of state in the world, who risked the lives of his country’s citizens for Venezuela’s freedom,” she said.

Trump, who has long publicly coveted the Nobel Peace Prize, called Machado’s presentation of the medal at the time a “wonderful gesture of mutual respect”.

The Norwegian Nobel Committee, which honoured Machado for her tireless campaign to restore democratic rights in Venezuela and her struggle to achieve a peaceful transition from authoritarian rule, made clear after the handover that the prize is nontransferable and cannot be revoked, shared or transferred to others.

Machado, who had been living in hiding before leaving Venezuela in December to collect her prize in Oslo, said she was coordinating her return to the country with Washington.

US key to ‘democratic transition’

“I am speaking with the US government, and we are working in coordination, with mutual respect and understanding,” she said, adding that she believed Washington was “key to advancing a democratic transition” in Venezuela.

Trump has, however, publicly questioned Machado’s standing, calling her a “very nice woman” but saying she lacks “respect” within Venezuela. He has instead backed Maduro’s former vice president, Delcy Rodriguez, as the country’s interim leader.

Venezuela’s opposition last week called for presidential elections. Machado, who was banned from running in the disputed 2024 vote that returned Maduro to power, has not yet said whether she would stand in a future poll.

While in Spain, Machado declined a meeting with Prime Minister Pedro Sanchez, citing his hosting of a progressive leaders’ summit in Barcelona as proof the meeting was “not advisable”. Sanchez had said he was willing to meet her at any time.

This snub comes in contrast to her frequent encounters with Sanchez’s right-wing opponents.

Iran says it has reopened the Strait of Hormuz, which it largely closed after being attacked by the U.S. and Israel. The move was prompted by a temporary ceasefire in Lebanon between Israel and Hezbollah, an Iranian proxy. However, the U.S. blockade on Iranian ports enacted on Monday remains in place, President Donald Trump announced on his Truth Social social media site.

All this comes as the U.S. and Iran appear closer to reaching a deal to end the war, which we will discuss in greater detail later in this story. The temporary ceasefire between the two countries ends April 21.

“In line with the ceasefire in Lebanon, the passage for all commercial vessels through Strait of Hormuz is declared completely open for the remaining period of ceasefire, on the coordinated route as already announced by Ports and Maritime Organization of the Islamic Rep. of Iran,” Sayyed Abbas Araghchi, the Iranian Foreign Minister, stated on X Friday morning.

That route is a narrow five-mile stretch between the islands of Qeshem and Larak, roughly 15 miles from the Iranian shoreline.

In a post on his Truth Social site, U.S. President Donald Trump hailed the decision but said it did not change the ongoing blockade.

“THE STRAIT OF HORMUZ IS COMPLETELY OPEN AND READY FOR BUSINESS AND FULL PASSAGE, BUT THE NAVAL BLOCKADE WILL REMAIN IN FULL FORCE AND EFFECT AS IT PERTAINS TO IRAN, ONLY, UNTIL SUCH TIME AS OUR TRANSACTION WITH IRAN IS 100% COMPLETE,” Trump stated. “THIS PROCESS SHOULD GO VERY QUICKLY IN THAT MOST OF THE POINTS ARE ALREADY NEGOTIATED.”

The president added that “Iran has agreed to never close the Strait of Hormuz again. It will no longer be used as a weapon against the World!” However, there was no immediate response from Tehran.

Regarding any peace deals, Trump said on his Truth Social network that the “U.S.A. will get all Nuclear ‘Dust,’ created by our great B2 Bombers – No money will exchange hands in any way, shape, or form.”

This was a reference to the Operation Midnight Hammer attack on Iranian nuclear facilities last year.  Iran is believed to have about 440.9 kg of uranium enriched up to 60% of the explosive uranium isotope, U-235 stored at these locations.

“This deal is in no way subject to Lebanon, either, but the USA will, separately, work with Lebanon, and deal with the Hezboolah situation in an appropriate manner. Israel will not be bombing Lebanon any longer,” Trump added.

It remains to be seen how this will play out. Iran’s state TV, citing a senior military official, highlighted that “only civilian vessels will be allowed to pass through the Strait of Hormuz via designated routes and with permission from the Islamic Revolutionary Guard Corps Navy.”

“The passage of military vessels through the strait remains prohibited,” it said.

Despite the closure, ships have still transited the strategic body of water through which about a fifth of the world’s oil and gas exports pass. Ship traffic through the Strait actually “increased from last month’s unusually low levels, with crossings rising and activity extending across a broader mix of vessel types and cargoes,” according to the global trade intelligence firm Kpler.

There is also still the issue of mines in the section of the Strait outside the Qeshem-Larak passage. Demining is one of the issues being discussed today in an international meeting being held in Paris, a French official told us. We’ll discuss this meeting in a little more detail later in this story.

Trump, however, claimed that “Iran, with the help of the U.S.A., has removed or is removing all sea mines!”

We have reached out to shippers and maritime analysis and security firms to get a clearer picture of what this decision means from their perspectives.

“This is good news,” a spokesman for Hapag-Lloyd told us. “There are still some open questions on our end, but they might be resolved within the next 24 hours. Top priority for the passage is safety and security for the seafarers, the vessel and the cargo of our customers. If all open issues are cleared (i.e. insurance coverage, clear orders of Iranian government/military about the exact sea corridor to be used and the sequence of ships leaving) we would prefer to pass the strait as soon as possible. Our crisis committee is in session and will try to resolve all open items with the relevant parties within the next 24-36 hours.”

The reopening of the Strait “marks a turn for global shipping, as it allows over 750 vessels previously trapped in the Middle East Gulf to begin clearing approximately $17 billion in stranded energy and dry bulk cargoes,” Kpler told us. “As of April 17, 2026, there are 862 vessels currently operating within the Mideast Gulf. The core of the backlog is composed of approximately 187 laden tankers carrying roughly 172 million barrels of crude and refined products, along with a specialized cluster of 15 LNG vessels that remain almost entirely stalled following the collapse of recent ceasefire talks.”

The Strait reopening and a looming new round of peace talks appears to have provided a boost to the world economy.

“Oil prices are falling by more than 10%, and Wall Street is rallying toward another record after Iran said the Strait of Hormuz is fully open, which would allow oil tankers to exit the Persian Gulf again and carry crude to customers worldwide,” The Associated Press reported. “The S&P 500 rallied 0.7% as U.S. stocks sprinted toward the finish of a third straight week of big gains. The Dow Jones Industrial Average rose 1%, and the Nasdaq composite added 1%.”

Stocks “have rallied more than 11% since late March on hopes that the United States and Iran can avoid a worst-case scenario for the global economy,” the wire service added.

BREAKING: President Trump and Iran’s foreign minister say the Strait of Hormuz is now fully open. Crude oil prices tumble 10% after the announcements. https://t.co/d44au7X8UP

— The Associated Press (@AP) April 17, 2026

UPDATES

Our coverage for the day has concluded.

UPDATE: 5:45 PM EDT–

Trump told CBS News that Iran has “agreed to everything,” and will work with the U.S. to remove its enriched uranium.

He insisted that doing so will not involve U.S. ground troops. But when asked who would retrieve it, he would only say “our people.”

“No. No troops,” he told the network. “We’ll go down and get it with them, and then we’ll take it. We’ll be getting it together because by that time, we’ll have an agreement and there’s no need for fighting when there’s an agreement. Nice right? That’s better. We would have done it the other way if we had to.”

The president said the material would then be brought to the U.S.

“Our people, together with the Iranians, are going to work together to go get it. And then we’ll take it to the United States,” he said.

NEWS President Trump tells me:

-No ground troops will be required to remove enriched uranium from Iran

-Iran has agreed to stop backing all proxy groups like Hezbollah and Hamas

-I asked if Iran has agreed to stop enriching uranium *forever.” He said, “They’ve agreed to…

— Weijia Jiang (@weijia) April 17, 2026

UPDATE: 5:24 PM EDT –

Speaking to the White House press corps, Trump addressed questions about the peace process.

“We’ll see how it all turns out, but it should be good, some very good discussions, and hopefully that subject that you like to talk about will be very good,” he said. “And we’ve done a good job, but we’ll see … the talks are going on and going over the weekend, and a lot of good things are happening that includes Lebanon.”

Asked about differences with Iran on how all this is developing, Trump said: “If there are, I’m going to straighten it out. .. don’t think there’s too many significant differences.”

As for the blockade: “When the agreement is signed, the blockade ends,” he proclaimed.

Earlier on Friday, Iranian officials said they would close the Strait again if the blockade is not lifted.

“We’ve had some very good discussions… Talks are going on. It’ll go on over the weekend — and a lot of good things are happening,” says @POTUS in Arizona.

“As soon as the agreement gets signed, that’s when the blockade ends.” pic.twitter.com/PjNlBvwSAo

— Rapid Response 47 (@RapidResponse47) April 17, 2026

UPDATE: 1:34 PM EDT –

Trump told Axios that U.S. and Iranian negotiators will probably meet this weekend, and he expects them to hammer out a final deal to end the war. The deal should come “in a day or two,” Axios reporter Barak Ravid added on X.

UPDATE: 1:28 PM EDT –

Trump told Reuters on Friday that the U.S. will work with Iran to recover its enriched uranium ​and bring it back to the United States.

“We’re going to get ‌it together. We’re going to go in with Iran, at a nice leisurely pace, and go down and start excavating with big machinery… We’ll bring it back to the United ​States,” Trump said during a phone interview.

The ⁠United States will work ‌with Tehran to recover its enriched uranium and bring ​it back to ‌the United States, President Donald Trump told Reuters on Friday.

“We’re going to get it together. ‌We’re going to go in with Iran, at ⁠a nice leisurely pace, and go ‌down ​and… pic.twitter.com/ZfwJTFrIbr

— Iran International English (@IranIntl_En) April 17, 2026

UPDATE: 1:17 PM EDT –

Seyyed Mohammad Mehdi Tabatabaei, a spokesperson for Iran’s president, pushed back on Trump’s claim that Iran promised never to close the Strait again.

“The Twitter rhetoric and baseless statements of the enemy are aimed at stripping the Iranian nation of their sense of pride for the great victories they have achieved through their resolute defense,” he stated on X. “The conditional and limited reopening of a portion of the Strait of Hormuz is solely an Iranian initiative, one that creates responsibility and serves to test the firm commitments of the opposing side. If they renege on their promises, they will face dire consequences.”

لفاظی‌های توئیتری و اظهارات بی‌پایه دشمن، در جهت سلب احساس افتخار ملت ایران برای پیروزی‌های بزرگی است که در دفاع مقتدرانه کسب کرده‌اند.
بازگشایی مشروط و محدود بخشی از تنگه هرمز ، صرفا ابتکاری ایرانی، مسئولیت‌آفرین و برای آزمون تعهدات قطعی طرف مقابل است. بدعهدی کنند، بد می‌بینند.

— سيد مهدي طباطبايي (@tabaei1356) April 17, 2026

UPDATE 12:51 PM EDT –

Iran considers the continuation of the U.S. blockade on its ports a ceasefire violation and would close the Strait of Hormuz again if the blockade is not lifted, the IRGC-affiliated Fars News reported citing an informed source close to the Supreme National Security Council.

We’ve reached out to the White House for comment.

Iranian official to Fars:

If the maritime blockade continues, it will be considered a violation of the ceasefire, and the Strait of Hormuz transit route will be closed.

— Clash Report (@clashreport) April 17, 2026

With new talks potentially set to be held in Pakistan over the weekend, the U.S. and Iran are negotiating over a three-page plan to end the war, Axios reported Friday morning. One of the key elements under discussion is “that the U.S. would release $20 billion in frozen Iranian funds in return for Iran giving up its stockpile of enriched uranium,” the outlet noted, citing two U.S. officials and two additional sources briefed on the talks.

The Memo of Understanding (MoU) also states the two sides are negotiating over a “voluntary” moratorium on nuclear enrichment by Iran. It also deals with the Strait of Hormuz, “though the sources said there are still significant gaps on that issue,” Axios posited.

It’s unclear if the MOU refers to Iran’s ballistic missiles and its support for regional proxies.

🚨 SCOOP: The U.S. and Iran are negotiating over a three-page plan to end the war, with one element under discussion being that the U.S. would release $20 billion in frozen Iranian funds in return for Iran giving up its stockpile of enriched uranium. https://t.co/w84Yd8JHgp

— Axios (@axios) April 17, 2026

“Trump is directly talking to the Iranians,” U.S. Sen. Lindsey Graham (R-SC) told Fox News. 

“He is negotiating himself,” Graham proffered. “He was on the phone with the Iranians a couple of days ago, and it got rather sporty—to the point that Trump loudly told Iran what would happen if they keep playing games. He actually lost his voice. I’d hate to be the Iranian on the receiving end of that.”

Senator Graham:

Trump is directly talking to the Iranians. He is negotiating himself.

He was on the phone with the Iranians a couple of days ago, and it got rather sporty—to the point that Trump loudly told Iran what would happen if they keep playing games.

He actually lost… pic.twitter.com/rMPjT9SYYc

— Clash Report (@clashreport) April 17, 2026

Despite rising hopes that the war in Iran could soon end, the country’s deputy foreign minister on Friday rejected any call for a temporary ceasefire. Instead, Tehran is seeking a comprehensive end to conflict across the Middle East, Saeed Khatibzadeh told reporters today. That includes fighting between Israel and Hezbollah, currently paused on the first full day of a shaky 10-day ceasefire.

“We are not accepting any temporary ceasefire,” Khatibzadeh said on the sidelines of the Antalya Diplomacy Forum hosted by Turkey’s Foreign Affairs Ministry. Any end to the fighting must include all conflict zones “from Lebanon to the Red Sea,” he added, describing it as a “red line” for Iran.

The cycle of violence “should end here once and for all,” Khatibzadeh continued, according to Al Jazeera.

The Islamic Revolutionary Guard Corp (IRGC) said it is ready to resume fighting if needed.

The Army and the IRGC have their “finger on the trigger” and are “prepared to deliver a powerful, destructive, and regret-inducing response to any aggressive or criminal action by the US-Israeli enemy and their allies against the Iranian nation,” the IRGC said Friday.

As we noted earlier in this story, the leaders of nearly three dozen nations met – mostly virtually – at a conference in Paris today to discuss the future of the Strait of Hormuz.

Co-chaired by French President Emmanuel Macron and British Prime Minister Keir Starmer, the conference on the Initiative for Maritime Navigation in the Strait of Hormuz looked at ways of protecting shipping after the fighting ends.

Starmer said the U.K. and France will lead a multinational mission to “protect freedom of navigation” in the Strait as soon as conditions permit. He added that the mission would be “strictly peaceful and defensive,” with the aim of reassuring commercial shipping and supporting mine clearance efforts.

Starmer invited other countries to join, saying that roughly a dozen countries had committed to contributing assets.

Kaja Kallas, European Union High Representative for Foreign Affairs and Security Policy/Vice-President of the European Commission, said leaders also discussed ensuring that Iran imposes no tolls on passage through the Strait.

“Any pay-for-passage scheme will set a dangerous precedent for global maritime routes,” she stated on X. “Iran has to abandon any plan to levy transit fees. Europe will play its part in restoring the free flow of energy and trade, once a ceasefire takes hold.”

Kallas added that the EU’s Aspides naval mission is already operating in the Red Sea “and can be quickly strengthened to protect shipping across the region. This could be the fastest way to provide support.”

Yesterday, a spokesman for Aspides told us that there were no changes in its mission.

Under international law, transit through waterways like the Strait of Hormuz must remain open and free of charge. This is what leaders made clear in their call on reopening the Strait today.

Any pay-for-passage scheme will set a dangerous precedent for global maritime routes.… pic.twitter.com/Jeufv4hQou

— Kaja Kallas (@kajakallas) April 17, 2026

Contact the author: howard@thewarzone.com

KATIE Price’s son Harvey has called her new husband Lee Andrews “daddy” after appearing to confirm Lee’s travel ban.

The self-proclaimed businessman, 43, took to his Instagram stories today to share a picture that Harvey had drawn for him.

In the picture, two frogs are seen sitting next to each other with a love heart saying “I love you” in between them.

He addressed the drawing to “Mummy Bullfrog and Daddy Lee Bullfrog,” and said: “I hope you have a great Valentine’s Day and a happy holiday, love from Harvey.”

Lee wrote under it: “Harvey Price. You are just the best human,” as Katie reshared his story on her own profile.

It comes after The Sun revealed Lee’s devotion to Harvey with an apparent tattoo on the side of his left hand.

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Harvey’s name could be seen in a fancy font alongside an image of a frog, the 23-year-old’s favourite animal.

He’s yet to fly to the UK and meet her children in person but no doubt he’s spoken to Harvey via FaceTime.

Lee and Katie, 47, tied the knot in a secret ceremony in Dubai back in January before having a second ceremony the following month.

Ever since the pair tied the knot, there’s been constant speculation that Lee is unable to leave Dubai, where he resides full-time.

It was reported that he allegedly forged his ex-girlfriend Dina Taji’s signature to secure a £200,000 loan – something he’s strongly denied.

On several occasions, he’s claimed he’s coming to the UK but each time, he hasn’t ended up coming.

During the latest episode of her podcast with her sister Sophie, the former glamour model was asked directly about Lee’s situation.

She said: “Of course I’m going back to Dubai and Lee will come here when he needs to.

“People have to remember he’s lived in Dubai for 21 years, that’s where he lives and where he does his work. There’ll be a time when he does come to England and he’ll be with me.”

Sophie replied: “I thought he had a travel ban?”

While not confirming whether or not Lee is unable to leave the city, Katie said: “Do you know what? Everyone has said to me you can get a travel ban over anything in Dubai.

“A parking ticket or if you owe a bill for electricity or something… you can get a travel ban for absolutely anything.”

Sophie asked: “Do they do anything like that over here?”

The I’m A Celebrity star joked: “No. If they did, I’d be banned for life! But yeah, you can get one for even breathing the wrong way in Dubai. It’s so strict.”

A clip from the podcast was posted on social media, with Katie writing: “Lee’s travel ban… it’s so strict!!!!”

On Thursday, Lee claimed he’s moving to the UK in May.

Posting on his Instagram Stories he shared an image of him with Katie, which read: “LEE ANDREWS CONFIRMS RETURN TO UK.

“With his gorgeous wife Katie to support her family and career commitments.

“The couple are stronger than ever and will make the commitment to live together this coming May. Ahead of their Winter Wedding this Year.”

Brazilian president Luiz Inacio Lula da Silva has described the five permanent members of the UN Security Council as “Lords of War.” He called on them to stop acting like “emperors” and waging war on poorer countries.

The EU’s special representative for the Gulf said Saturday that any lasting solution for the Middle East must be led by countries in the region rather than imposed from outside, Anadolu reports.

Speaking at a panel during the Antalya Diplomacy Forum in southern Turkiye, Luigi Di Maio said the current crisis in the Gulf is another sign of the “further erosion of international law.”

“If we want to try to find a solution for avoiding again another crisis, like the ongoing crisis or a wider crisis, a farther spillover, we need to work all together,” he said.

Di Maio said the EU remains committed to multilateralism and international law, while stressing that Europe does not want to be “part of this war.”

At the same time, he said European countries are supporting Gulf partners in self-defense, including intercepting drones and missiles from Iran under bilateral agreements.

READ: US, Iran likely on Monday to hold 2nd round for technical talks in Islamabad: Sources

He also warned that instability in the Gulf affects the wider world, not only because of oil and gas, but also due to trade in fertilizer, helium for semiconductors and other goods moving through the Strait of Hormuz.

Di Maio said the collapse of the 2015 Iran nuclear deal showed the importance of involving regional countries in negotiations.

“Every solution for the Middle East has to be a region-led process,” he said.

He said stronger connectivity and defense cooperation can make the region more resilient to future crises, adding that “autonomy does not mean isolation.”

He praised mediation efforts by Turkiye, Egypt, Saudi Arabia and Pakistan, saying they had helped secure a ceasefire and could contribute to a broader agreement.

READ: French soldier killed in attack on UN peacekeepers in southern Lebanon: Macron

This year’s festival will take place Saturday and Sunday at the USC campus, and it’s packed with a mind-boggling array of great participants and exhibitors. You can peruse the complete schedule, download the book festival app, and book your parking and panel reservations here.

I have warm fuzzy feelings about the festival, attending as a budding writer in the early aughts. As someone who aspired to “go long” but had no clue how to go about doing it, the event was an inspiration: all these hot-shot authors talking about their craft, and free admission no less.

Of course the event wasn’t the sprawling, magnificent behemoth it is now, with cooking demonstrations from the world’s greatest chefs, and bestselling children’s authors reading to tiny budding bibliophiles. The first festival in 1996 drew 75,000 book fans; last year, more than twice as many people showed up.

As the festival grew, so did the excitement. In 2007, I waited in line along with hundreds of other fans for the privilege of hearing Gore Vidal talk about his craft in UCLA’s Royce Hall. Gay Talese, one of my journalism heroes and a veteran of some of the very first festivals in the late ’90s, was always a pleasure. His stories about breaking into the New York Times conjured up a lost world that seems positively antediluvian now. “If you show up in a three-piece suit and a hat, and you look like you might have taken a bath recently, they don’t kick you out as fast,” Talese told a packed crowd in 2008.

By that time, much to my astonishment, I knew Talese personally. In 2004, I was working on a book about the New Journalism movement that he spearheaded. That year, he asked me to join him at the book festival as a guest. It was my first time in the “green room,” the backstage area where authors socialize over food and drinks. After ogling all the A-list talent in the room, I was asked by Talese to join him for lunch at a table along with novelists Jane Smiley and John Kaye, historian Doug Brinkley and social critic Naomi Wolf, all of whom were appearing at the festival. Reader, my mind was suitably blown. I just kept my mouth shut and listened.

I will be moderating a panel Sunday at 1:30 p.m. at the Ray Stark Family Theatre (plug) and I can’t wait. There is nothing like this festival; it is The Times’ annual gift to the Southland, and we should all be grateful we get to enjoy it.

Here are some of this weekend‘s festival highlights. All panels are an hour in duration.

📚 Ultimate Festival Guide

Saturday

Drawn to Life: A Conversation on Graphic Novels

Graphic novelists Henry Barajas, Eagle Valiant Brosi, Anders Brekhus Nilsen, Mimi Pond and Angie Wang discuss their latest graphic novels, each of which is based on true events or popular myths.

Where: Albert and Dana Broccoli Theatre
When: 10:30 a.m.

Robert Kirsch Award Winner Amy Tan in Conversation with Thomas Curwen

Acclaimed author Amy Tan is the recipient of the 2025 Robert Kirsch Award for lifetime achievement, which recognizes a writer with a substantial connection to the American West. Tan’s expansive body of work, including essays, memoirs and bestselling novels “The Joy Luck Club,” “The Kitchen God’s Wife” and “The Bonesetter’s Daughter,” is widely celebrated for its profound exploration of the immigrant experience, family bonds and the quest for individual identity. Join us for a conversation with Amy Tan and award-winning former Los Angeles Times writer Thomas Curwen.

Where: Bovard Auditorium
When: 10:30 am

Modern Family: Humor, Chaos, and the Absurdity of Contemporary Life in Fiction

Novelists Jade Chang, Kevin Wilson and Sarah Levin discuss their new novels, which are fresh examinations of family in contemporary life: the ones we’re born with, the ones we make, and the ways we reach out for connection in an increasingly isolated, chaotic, and lonely world.

Where: Hoffman Hall, Edison Auditorium
When: 11 a.m.

The Mirror Effect: When The Writer Becomes The Story

Lana Lin, Melissa Febos, Susan Orlean and Amanda Uhle have produced literary and artistic work that has shaped conversations, influenced culture and established them as leaders in their fields. Now, they turn the pen inward and become the story. Exploring their careers, relationships, sexuality and more, these writers offer a rare and intimate look at the vulnerability, creativity and humanity behind their work

Where: Town and Gown
When: 1:30 p.m.

Democracy, Fascism and America Today

Join California Atty. Gen. Rob Bonta, Steven J. Ross, Omer Aziz, Erwin Chemerinsky and Los Angeles Times reporter Seema Mehta for a conversation about the state of our freedoms today and what our current political atmosphere could mean for the future of our democracy.

Where: Hancock Foundation, Newman Recital Hall
When: 1:30 p.m.

Sunday

Raising Gen Alpha: Parenting Today

How do we raise children in an age of rapid technological change, political polarization and global uncertainty? Drawing from their new books and their experience as parents, Reza Aslan and Jessica Jackley will explore how to have honest, age-appropriate conversations with kids about complex and challenging topics, while psychologist Darby Saxbe shares groundbreaking research on the science of fatherhood.

Where: Wallis Annenberg Hall
When: 10:30 a.m.

The Mosaic of Us: Individual Memoirs and the Collective Truth of Black Life in America

Join Austin Channing Brown, Tre Johnson, Tamika D. Mallory and Carvell Wallace as they reflect on the moments that shaped their lives, work and perspectives. Through individual stories of resilience, love, purpose and self-discovery, their experiences weave together like a mosaic to form a deeper collective portrait of Black life and identity in America today.

Where: Hancock Foundation, Newman Recital Hall
When: 10:30 a.m.

Poetry, Power & Sovereignty

Panelists Matthew Cuban Hernandez, Karla Cordero, Sonia Guiñansaca and Yesika Salgado will dive into what it means to be autonomous, to be your own supreme authority, to belong to yourself, the land(s) and people you choose.

Where: De Los Stage
When: 12:50 p.m.

Lionel Ritchie in conversation with Mikel Wood

The legendary performer will discuss his new book “Truly” with the Times’ pop music critic.

Where: Bovard Auditorium
When: 2:30 p.m.

Looking Deeper: The Asian American Experience in Historical Fiction

Christine Bollow, Karen Tei Yamashita and Naomi Hirahara dive deep into the myriad Asian American experiences at turning points in American history, shedding light on untold stories and essential characters in our shared history.

Where: Hoffman Hall, Edison Auditorium
When: 3:30 p.m.

On March 25, the International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade, the United Nations General Assembly passed a landmark resolution. Proposed by Ghana, it recognised the transatlantic slave trade as the “gravest crime against humanity” and called for reparations. A total of 123 countries supported the resolution; three opposed it, including the United States and Israel, while 52 abstained, Britain among them, and several European Union countries.

The UN’s slavery resolution is a historic moment, but what comes next is even more important. Leading up to the resolution, the African Union urged its 55 member states to pursue slavery reparations through formal apologies, the return of stolen artefacts, financial compensation, and guarantees of non-repetition.

This raises a question the resolution does not directly ask: reparations from whom, and to whom? If the answer is simply from European governments to African governments, then the reparations movement risks ignoring the long history of European engagement with Africa, and in doing so delivering justice to the wrong people.

What the reparations debate misses

The contemporary framing of the reparations debate is seductive in its simplicity: Europeans arrived in Africa, Africans were enslaved, Europeans grew rich, and Africans became impoverished. Therefore, Europe owes Africa. This narrative carries moral force, but it risks flattening the complex history of European engagement with the continent.

While European actors undeniably drove the demand for enslaved labour, African political and economic elites were not passive victims. They played a significant role in capturing, transporting and selling enslaved people to European traders.

In some cases, African states, seeking to expand their treasuries and consolidate territorial power, preyed on neighbouring communities, condemning them to enslavement for profit. The Oyo Empire, a powerful Yoruba state in what is now south-western Nigeria, expanded significantly in the eighteenth century through its participation in this commerce. Across the region, African elites who had the means sustained the system by exchanging enslaved people for European goods such as alcohol, textiles and other manufactured commodities.

None of this diminishes European culpability in the slave trade. The demand was European. The ships were European. The plantation system was European. The racialised ideology constructed to justify slavery was European. But it does complicate the story.

The transatlantic slave trade was not solely a narrative of African victimhood and European perpetration. It is a story of elite collaboration, which did not end when the slave ships stopped sailing.

The historical argument: three phases, one logic

European encounter with African societies can be understood in three broad phases, each distinct in form but similar in the underlying logic of collaborative extraction.

The first phase was slavery. Europeans extracted human labour from Africa, often with the active participation of African political rulers. Britain emerged as the world’s leading slave-trading country, transporting roughly 3.4 million Africans across the Atlantic between 1640 and 1807. The abolition of the British slave trade in 1807 marked the formal end of this phase. But abolition did not disrupt the underlying logic of the elite collaboration. It reshaped it.

The second phase was colonialism. A less understood aspect of European domination in Africa is how seamlessly some African rulers transitioned from collaborators during the slave trade to intermediaries in the colonial period.

In Nigeria, for example, regional African rulers became intermediaries for British administrators. As Nigerian historian, Moses Ochonu, demonstrates in Emirs in London, a study of Northern Nigerian Muslim aristocrats who travelled to Britain between 1920 and independence in 1960, these African figures were far from passive subjects of British rule. They actively leveraged their relationship with British authorities to reinforce their own authority at home. Such sponsored travel to the imperial centre helped solidify personal ties between Nigerian elites and British administrators, reinforcing the system of indirect rule.

The third and current phase is the postcolonial era. While formal empire has ended, the structure of elite alignment endures. In countries such as Nigeria, the majority of citizens remain largely excluded from political and economic power. The institutional successors of intermediaries and collaborators during the eras of slavery and colonial rule are now running the African postcolonial states.

Rather than dismantling extractive systems, many have repurposed them. Similar patterns of exclusion and extraction that defined earlier periods have been reproduced, leaving the majority of Africans short-changed by a system that continues to serve elite interests.

Nigerian President Bola Tinubu’s state visit to the United Kingdom last month – complete with royal ceremony, photo opportunities and symbolic gestures – reflected this relationship whose origins lie in the very history the UN resolution condemns. While the majority of Nigerians face difficult socio-economic conditions, the British government announced that Nigerian companies would create hundreds of new jobs in the UK.

This is not an anomaly but a continuation of the extractive logic that shaped the slave trade and colonialism. It endures, now recast in the language of diplomacy and partnership.

Reparations are just, and Britain’s debt is undeniable. But direction matters. If compensation flows from one set of elites to another, the oppressed majority of Africans will once again be excluded. True justice must run in two directions: from European states to formerly colonised societies, and from African elites to the citizens they continue to exploit.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

UN Children’s Fund calls on Israeli authorities to investigate and ‘ensure full accountability’.

The United Nations Children’s Fund says it is “outraged” after Israel killed two drivers it had contracted to deliver clean water to families in Gaza.

UNICEF said in a ⁠statement the incident occurred during routine water trucking on Friday morning at the Mansoura water filling point in northern Gaza, which supplies Gaza City. Two other people ‌were wounded in the attack.

The agency said it had suspended activities at the site and called on Israeli authorities to investigate and “ensure full accountability”.

“Humanitarian workers, essential service providers, and civilian infrastructure, including critical water facilities, must never be targeted,” it said.

It said that “the protection of civilians and those delivering life-saving assistance is an obligation under international humanitarian law”.

More than 750 Palestinians have been killed by Israeli forces since the US- and Qatar-brokered “ceasefire” in Gaza took effect last October, according to Palestinian health authorities.

More than 72,000 people have been killed since Israel launched its genocidal war against Palestinians in Gaza on October 7, 2023, following a Hamas-led attack on southern Israel.

Meanwhile, in the occupied West Bank, a Palestinian man was shot and killed by Israeli forces in Khirbet Salama, the official Palestinian news agency WAFA reported.

Muhammad Ahmad Suwaiti, 25, was pronounced dead at the scene, WAFA said.

Israel’s military said a person carrying a knife in the illegal settlement of Negohot was killed. It did not say who was responsible.

Using the biblical term for the West Bank, the Israeli military said in a statement that “a terrorist who infiltrated the community of Negohot in Judea and Samaria was identified and eliminated in a rapid response”.

Israeli forces and settlers have killed more than 1,060 Palestinians in the occupied West Bank since the start of the Gaza war in October 2023, according to the Palestinian Ministry of Health.

With its sunsoaked Californian desert setting, A-list celeb guests and top music acts, hip US festival Coachella might look like the dream destination when scrolling through the Instagram feed of one of the myriad of Love Island stars in attendance.

But while influencers are given the VIP experience, thanks to the brands who pay big bucks to take them there for free, the reality for normal punters can be a whole different story.

As the cult festival kicks off its second consecutive weekend in Palm Springs, social media has been awash with complaints from regular folk exposing the ‘truth’ about what it’s like to go there as a non VIP – and it makes for some pretty grim reading.

From nightmarish queues for cold showers, to hefty £3,000 price tags for three days at the event, various TikTok testimonials may make you think twice before booking for next year’s gig.

As someone who went as a normal person and not as an influencer, it was one of the worst concert experiences I’ve ever had,” TikTok user @lottiestars ranted in a recent social media video.

“Firstly, there’s no place for you to be dropped off. The festival is, like, really disorganised. So I remember we asked 20 different people: ‘Where do we go?’ and they they were like: ‘Oh, we don’t know’. And they actually worked for the event! So you’ll end up sitting in traffic for most of the time before you can find a spot and get dropped off.”

PARTIED HARD

Love Island’s Chloe & Millie admit they were thrown OUT of VIP at Coachella

PEACHY SNAP

Sabrina Carpenter flashes bum in tiny denim hotpants ahead of Coachella

She added that when she then finally arrived, the event proved a nightmare for her pal who was disabled.

“You have another what feels like an hour long walk to actually get into the festival, you have to do is on this super dusty, bumpy, unpaved road, which was really hard for my friend because they were in a wheelchair… they kept getting knocked over and falling out of their wheelchair, so it was not like wheelchair accessible.”

Once inside the venue, Lottie alleged that the atmosphere was not enjoyable thanks to a myriad of influencers creating a stressful environment.

“Everyone’s vibe is really, really bad. A lot of people were pretty mean. They’re like, ‘No, you’re not coming this way and stuff, you can’t go through’ so it’s harder to work your way through the crowd or to reconnect through your friends.

“It’s not as easy to take cute pictures as you think. Literally, everyone’s taking pictures. It’s like a field of cow, but instead of cows, it’s people.”

To top it all, Lottie wrapped up her video by claiming she got sick from the notorious desert winds.

She said: “I was so sick because during the daytime, it’s burning hot, and then at nighttime, it’s freezing cold, and the dust is really, really intense. Like, you’ll blow your nose, and they’ll be black dirt coming out of your nose.

“The third night, I couldn’t even enjoy the festival, and I probably was only there for like 30 minutes and I had to leave.”

And it seems this is far from a one-off negative review.

The Strokes fan @emilyjadebispo says her experience watching her favourite band was ruined by influencers who were only there to watch Justin Bieber and had no idea about ‘festival etiquette’.

She claimed: “The people around me who were there for Justin Bieber were f***ing insufferable. Oh, my God. It’s like they have never been to a festival before. They have no idea what it’s like that other genres exist.

“They are just completely unaware of any sort of concert etiquette at all. The people to my left, during one of my favourite bands sets, were talking the entire time saying: ‘I don’t even know who this is. What even is this? This is really honestly killing my vibe for Bieber.’”

For those who camp and aren’t holed up in pricey villas like the influencer crowd, some describe the experience as “endurance training.”

@huioyg3 said in one TikTok video: “Basic shower access has turned into a survival challenge, people are waiting in line for hours just to get a quick rinse, often with freezing cold water.

“To avoid this nightmare, some festival goers are spending hundreds of dollars on portable shower setups, building their own tents just to maintain a sense of hygiene.

“Another issue is making things worse, extreme heat. Phones are overheating, energy levels are dropping, and what’s supposed to be a fun four day experience is starting to feel more like endurance training.”

Of course, the biggest issue for many is how the festival impacted their wallet.

General admission tickets cost around $799 [£590] for three days, while VIP – which allows you to get closer to the stage and gives you a shuttle pass into the venue – will mean you shell out even more, clocking in around $1299 [£959].

“Coachella started as a low price event to protest against high cost events,” one music fan vented online.

“How are people affording this?” fumed another.

Some, however, claimed it was worth the price of VIP.

“It was 100% worth it We do get closer viewing to some of the stages. And honestly, when the big performers do come out, it gets super packed,” said tiktok user @noesilva

If you shun camping though, hotels can be extortionate due to high demand, as Noa explains.

“Next thing I spent money on was a hotel, which was the most expensive part. It was $2,300 [£1698] for three nights, and I know it sounds like a lot of money, but for me personally, I was not going to go camping.

And finally, you got to think of all the extra expenses that are probably gonna be happening during the trip, which is food, drinks, merch, like all the extra stuff that you’re going to be paying for, and realistically, that’s going to cost me around $500 [£370]. So in total, this trip is costing me around $4,000 [£2950].”

Another furious former Coachella fan, Nick Holiday, summed it up in a top-rated TikTok video.

“They’re charging $100 [£74]for one bite of caviar, four chicken nuggets and seven french fries. That’s honestly a crime against humanity.”

April 17 (UPI) — A federal judge on Friday blocked a lawsuit against the state of Hawaii that the federal government filed to prevent it from suing oil companies.

The Department of Justice last year sued Hawaii to stop a suit against fossil fuel companies for the impact of climate change on the state, but Senior Judge Helen Gillmor of the U.S. District Court in Hawaii said they it has no standing, The Hill and The New York Times reported.

In the ruling, Gillmor said that an “abstract, theoretical future harm” is not a valid basis for a lawsuit because stating an intention to file suit — which the state’s governor declared on television that he planned to do — does not amount to “concrete harm” that would allow an entity to sue.

Gillmor blocked the lawsuit because the DOJ’s theory of harm would require predicting claims brought against unknown companies; predicting that the lawsuit would be successful; “guessing” that oil companies would react in specific way; and then hypothesizing that the reaction would somehow harm the United States’ commerce and future energy policy, she wrote in the 30-page decision.

The DOJ’s suit, which was filed by now-former Attorney General Pam Bondi, alleged that Hawaii’s action was a “burdensome and ideologically motivated” lawsuit that could cause “crippling damages” with the energy and climate policies the state allegedly is pursuing.

“We disagree with the Hawaii District Court’s ruling, which ignored Supreme Court precedent regarding the United States’ interest in the supremacy of federal law,” the DOJ’s principal deputy assistant attorney general Adam Gustafson said in a statement. “We are exploring all options.”

Tehran, Iran – United States President Donald Trump’s announcements about securing major concessions from Tehran have riled supporters of the Iranian establishment, prompting rejections and clarifications from the authorities.

Several current and former senior officials, state media and the Islamic Republic’s hardcore backers expressed anger, frustration, and confusion after the US leader made a series of claims, with days left on a two-week ceasefire reached on April 8.

Trump on Friday said Iran and the US would jointly dig up the enriched uranium buried under the rubble of bombed Iranian nuclear sites, and transfer it to the US. He claimed Iran had agreed to stop enriching uranium on its soil.

He also said the Strait of Hormuz had been opened and would never be closed again, while the US naval blockade of Iran’s ports remained in place, and sea mines were removed or were in the process of being removed.

Trump also emphasised that Iran would not receive billions of dollars of its own frozen assets abroad due to US sanctions, and that the 10-day ceasefire between Israel and Lebanon was completely unrelated to Iran.

Amid Pakistan’s ongoing efforts to mediate another round of negotiations, Iran’s Parliament Speaker Mohammad Bagher Ghalibaf, who led the Iranian delegation to the Islamabad talks earlier this month, rejected all of Trump’s claims.

“With these lies, they did not win the war, and they certainly will not get anywhere in negotiations either,” he posted on X early on Saturday.

By Saturday noon, the Khatam al-Anbiya Central Headquarters of the Islamic Revolutionary Guard Corps (IRGC) released a statement, saying the Strait of Hormuz is once again heavily restricted and under “strict management” of the armed forces. It cited continued “acts of piracy and maritime theft under the so-called label of a blockade” by Washington as the reason.

‘Haze of confusion’

In the hours it took between Trump’s flurry of announcements on Friday and official responses from Iranian authorities, supporters of the establishment voiced serious concerns about any major concessions.

“Is there no Muslim out there to talk to the people a bit about what is happening?!” Ezzatollah Zarghami, a former state television chief and current member of the Supreme Cyberspace Council that controls the heavily restricted internet in Iran, wrote on X.

Alireza Zakani, the hardline mayor of Tehran, said if any of Trump’s claims are true, then the Iranian establishment must beware “not to gift the vile enemy in negotiations what it failed to achieve in the field”.

A fan account on X for Saeed Jalili, an ultrahardline member of the Supreme National Security Council who has opposed any deals with the US for decades, said “dissent” may be at play. It said Supreme Leader Mojtaba Khamenei, who has not been seen or heard from outside of several written statements attributed to him, must release a voice or video message to confirm what is happening.

Jalili’s main account distanced itself from the comment, saying the fan account – which was subsequently deleted – was a sign of “infiltration” by enemies of Iran who were trying to sow discord.

Iranian state media released another written statement attributed to Khamenei on Saturday to mark Army Day, but made no mention of the political drama unfolding hours earlier, or the negotiations with the US.

The dissonance was clearly on display on state television and other state-linked media on Friday, especially those affiliated with the IRGC.

Multiple state television hosts and analysts harshly attacked Foreign Minister Abbas Araghchi because he tweeted on Friday that the Strait of Hormuz was “declared completely open for the remaining period of ceasefire, on the coordinated route as already announced by Ports and Maritime Organisation”.

One of the hosts demanded Araghchi must immediately clarify. Another said the top diplomat’s tweet was in English, and since the Iranian people do not have access to X due to the state-imposed near-total internet shutdown for seven weeks, the message was not directed at the people.

With a huge Hezbollah flag in the background, a furious presenter on state television’s Channel 3 claimed that Araghchi was somehow “the representative of the people of Lebanon, Yemen and Iraq” because they are a part of Iran’s “axis of resistance” of armed forces, so he should demand concessions on their behalf from Trump.

Morteza Mahmoudvand, a representative for Tehran in the Iranian parliament, went as far as saying Araghchi would have been impeached had it not been for “the excuse of war”.

The Fars and Tasnim news sites, which are affiliated with the IRGC, also heavily criticised Araghchi and called for further explanations on Friday evening, with Fars arguing that “Iranian society was plunged into a haze of confusion.”

Armed supporters in the streets

Critical comments from supporters of the Iranian government also flooded social media, including local messaging applications and the comments section of state-run sites.

“We took to the streets every night with clear demands, but you shook hands with the killer of our supreme leader and handed our strait to the Zionists,” one user wrote on Friday in the local app Baleh, in reference to Israel.

“After all these years of sanctions and war and costs imposed on the people, if you are to give up the uranium and the strait, then why did you play with the people’s livelihoods and the blood of the martyrs for so long?” another user wrote.

A large number of analysts and media personalities, including Hossein Shariatmadar, the head of the Kayhan newspaper, who was appointed by late Supreme Leader Ayatollah Ali Khamenei, also voiced criticism and demanded answers on Fars and other outlets.

Regardless of whether there will be more mediated negotiations in Pakistan or whether the war will continue, Iran continues to encourage and arm backers to take to the streets to maintain control.

State media on Friday aired footage of more armed convoys moving through the streets of Tehran while waving the flags of Lebanon’s Hezbollah, Iraq’s Hashd al-Shaabi and other groups. The video below shows women and children crewing heavy machineguns mounted on the back of pick-up trucks during a rally in downtown Tehran.

With no end in sight to the state-imposed internet shutdown that has wiped out millions of jobs in Iran, in addition to steel factories and other infrastructure that were destroyed, the Iranian economy continues to suffer.

The timing of the back-and-forth between Trump and the Iranian officials meant that oil prices dropped before Western markets closed on Friday, and the Iranian currency experienced more volatility.

The rial was priced at about 1.46 million against the US dollar on Saturday morning, the first day of the working week in Iran. But it shot back up to about 1.51 million after the IRGC announced the repeated closure of the Strait of Hormuz.

Most Angelenos know Frank Gehry as the rebel architect whose deconstructivist buildings reinvigorated L.A. amid its late-century identity crisis.

Fewer know him as the sentimental sculptor celebrated in Gagosian Beverly Hills’ upcoming “Frank Gehry” exhibition, the first to showcase Gehry’s work since his death in December. Curated by those who worked with and loved the famous architect, the show, scheduled to open May 14 and run through June 27, is equal parts tribute and art presentation. It will feature several of Gehry’s animal-themed sculptures, including a rarely seen stainless steel bear figure, on loan from the artist’s family.

The exhibition will also include the first public screening of Gehry’s entry in Gagosian Premieres, a series of videos by the gallery showcasing new art exhibitions through a mix of intimate artist interviews, studio visits and specialized musical performances.

By spotlighting Gehry’s artistic practice rather than his design ouevre — which includes Walt Disney Concert Hall, Guggenheim Museum Bilbao and Fondation Louis Vuitton — the exhibition reveals a different side of the late visionary, said Deborah McLeod, senior director at Gagosian Beverly Hills.

“I wouldn’t say it’s a retrospective, but it is a chance to stand in the room and be with him,” McLeod said, adding that she “wouldn’t have the hubris to say this is going to offer anybody closure,” but that she hopes it will help people — especially those who worked closest with Gehry — to process his loss.

“Everybody is kind of raw and missing Frank, and it’s just a chance to come together and do this again as his team,” she said.

McLeod curated the exhibition alongside Meaghan Lloyd, chief of staff and partner at Gehry Partners, whom the director said “really speaks for Frank.” Gehry‘s studio will design the show, which was realized in collaboration with the artist’s family.

“We didn’t get a chance to put one in the gallery proper. Every time we’d make one, it would get sold,” Deborah McLeod said about Frank Gehry’s bear sculptures.

(© Frank O. Gehry. Photo: Benjamin Lee Ritchie Handler / Courtesy Gogosian)

The highlight of the Gagosian exhibition is an artist proof of “Bear with Us” (2014), which the gallery lifted out of Gehry’s wife Berta Aguilera’s garden with a crane. Another edition of the bear sculpture is on view at the New Orleans Museum of Art, but at Gagosian, the work for the first time will be on view as part of an exhibition.

The stainless steel figure has a crumpled appearance that many believe is the result of Gehry balling up a piece of paper and seeing the bear in the crumple, although McLeod said Gehry told her himself that wasn’t true. The director added that the bear’s form gives the illusion of something “coming into being or dissolving.” The sculpture will likely have the Gagosian’s north gallery completely to itself.

“We’re really going to give him his due,” McLeod said. It was only right for a piece that, to her, reads as Gehry’s “self-portrait.”

A handful of other animal-themed sculptures will populate the south gallery, including a glowing black crocodile, gouache-painted papier-mâché snake lamps, and “Fish on Fire” (2023), the last of Gehry’s fish sculptures to be rendered in copper. Illuminated within the darkened gallery, the pieces will have a “magical” flair, McLeod said.

The first fish sculptures Gehry made in the ’80s were contained, even still. But when he returned to the fish form 30 years later, Mcleod said, “they started to become actually Baroque, so that’s kind of neat to see that evolution.”

Rounding out the exhibition are a series of ink, watercolor and acrylic works on paper that “express the energetic motion of fish in networks of black line and clouds of color,” a news release said.

A portion of the pieces in the exhibition will be available for purchase, with a detailed checklist to come.

The first Frank Gehry Fish Lamps were exhibited in 1984 at Gagosian in Los Angeles.

(© Frank O. Gehry. Photo: Robert McKeever / Courtesy Gagosian)

Gehry’s designs breathed life into the city’s core, but he didn’t get to finish a number of his most exciting plans, including one to transform the 51-mile-long L.A. River.

And while his architecture was his great gift to his adoptive hometown — his art was his gift to himself.

“As one of the busiest architects in the world, imagine the math and the minutiae that you have to go through,” McLeod said, noting the enormous pressure from clients that Gehry must have felt in his daily practice.

“For him, just to make something the shape he wants to make it, plug it in … I know it was a huge relief for him,” she said. “I know how much he loved doing it, and I loved being a part of that part of his life.”

A maritime agency reported that a tanker was fired on by gunboats in the Strait of Hormuz. The United ⁠Kingdom ⁠Maritime Trade Operations agency says it received a report ⁠of a tanker being fired upon by what it ‌said were two gunboats linked to Iran’s Revolutionary Guard Corps. The vessel and ‌its crew were reported safe.

Reports of Iranian gunboats opening fire on a tanker in strait, after Tehran said it is closing the waterway until the US lifts the blockade of its ports.

Iran says it has closed the Strait of Hormuz again, calling the decision a response to a continued blockade of its ports by the United States.

The Iranian military on Saturday said control of the strategic waterway, through which 20 percent of the global oil flows, has “returned to its previous state”, with reports saying Iranian gunboats fired at a merchant vessel as it attempted to ‌cross.

The closure of the strait came hours after it was reopened, with more than a dozen commercial ships passing through the waterway, after a US-mediated 10-day ceasefire deal was reached between Israel and Lebanon.

The Islamic Revolutionary Guard Corps (IRGC) on Saturday said in a statement, cited by the Iranian media, that the ongoing US blockade of Iranian ports represented “acts of piracy and maritime theft”, adding that the control over Hormuz is “under the strict management and control of the armed forces”.

“Until the US restores full freedom of navigation for vessels travelling from Iran to their destinations and back, the status of the Strait of Hormuz will remain tightly controlled and in its previous condition,” it said.

By 10:30 GMT on Saturday, no fewer than eight oil and gas tankers had crossed the strait, but at least as many ships appeared to have turned back, having begun to exit the Gulf, the AFP news agency reported.

The toing and froing over the strait cast doubt on US President Donald Trump’s optimism the day before, that a peace deal to end the US-Israel war on Iran was “very close”.

Trump had celebrated the reopening of the strait on Friday, but warned the US attacks would resume until Iran agreed to a deal, which included its nuclear programme.

“Maybe I won’t extend it,” Trump told reporters on board Air Force One about the temporary ceasefire agreement in place. “So you’ll have a blockade, and unfortunately we’ll have to start dropping bombs again.”

Asked whether a potential deal could be made in this short timeframe, Trump said: “I think it’s going to happen.”

But Iran says no date has been agreed for another round of peace talks, accusing the US of “betraying” diplomacy in all negotiations.

The conflicting and changing reports about the strait and how much freedom ships have to transit through it have deterred many vessels from crossing, according to John-Paul Rodrigue, a maritime shipping specialist at Texas A&M University.

“Ships have been attempting transit since the announcement, but it looks like many of them are heading back because the situation is unclear,” Rodrigue told Al Jazeera. “There is contradictory information being issued by all parties.”

Reporting from Tehran, Al Jazeera’s Tohid Asadi said “uncertainty is the name of the game” as far as the Strait of Hormuz is concerned.

“Iran is looking for a comprehensive end to the war across the region, security assurances, sanctions relief, the unfreezing of frozen assets, regional relations – and on top of all of that – the nuclear dossier and Iran’s stockpile of highly enriched uranium,” he said.

“But right now, uncertainty is the name of the game. The fragile situation makes it hard to talk about the possibility of successful negotiations down the road.”

How’s Lee Cronin doing? Fine. You know, still making movies. This one’s his third feature. Somebody — perhaps it was Lee Cronin himself, probably not — wanted us to know that his latest project, “Lee Cronin’s The Mummy,” was no mere mummy movie. Certainly not the one you have in mind: bandaged dead guy, ominous hieroglyphics, maybe Brendan Fraser. This is not that mummy movie. This is “Lee Cronin’s The Mummy.”

As for what that possessive credit means, we’re still in a haze. Cronin’s previous outing was “Evil Dead Rise,” a sequel heavily devoted to the gooey game plan mapped out by Fede Alvarez’s 2013 rethink of Sam Raimi’s gross-out comedies. In our current moment, when horror seems to be mining an especially rich vein (we’ve even seen an Oscar go to an unforgettable witch in “Weapons”), Lee Cronin represents the safe old ways of dutiful stewardship, getting the job done for a generic night out.

There are worse sins in the world. And sometimes the best way to introduce an ancient Egyptian curse is via a prologue that’s tonally very much like the one in “The Exorcist.” Who is the spooky, smiling woman beckoning to a young girl at the edge of her garden? No matter. The kid goes missing and, eight years later, her American family, since relocated to suburban New Mexico, is still feeling the loss: TV reporter Charlie (Jack Reynor), his haunted wife Larissa (Laia Costa) and their two semi-surly children, Maud (Billie Roy) and Sebastián (Shylo Molina).

When their precious Katie (a game Natalie Grace) is somehow returned to them, though, nearly catatonic with wrinkled, desiccated skin and gnarly toenails that would make a pedi technician shriek, it’s hard to blame them for feeling euphoric. Working from his own screenplay, Cronin barrels over the gaping plot holes — a doctor might have some thoughts here — and gets to the good stuff with the family at home in squirm-inducing close quarters, a live-in demon resting in her bedroom.

“Lee Cronin’s The Mummy” works best as a variation on Ari Aster’s career-making “Hereditary,” slicker and less guilt-ridden, with Grace’s Katie prone to jaw-snapping clicks and faraway looks, a spin on Milly Shapiro’s hypnotic turn as a doomed host. Eventually, things get more obvious: a levitating wheelchair, some skittering around on the ceiling. If Cronin does have a signature — more of a penchant, really — it’s for juicy gore, Katie’s skin peeling off in sheets. She goes to town on her own teeth.

All these moments are good for audience groans and there’s an enjoyable bad movie here for the seizing — that is when Cronin isn’t steering the action back to Egypt for an underpowered mystery thread involving a one-dimensional Cairo detective (May Calamawy) pursuing the root of the trouble. Why deploy a plummy archaeology professor (Mark Mitchinson) if you’re only going to give him a single scene to cut loose? He’s the kind of character who usually makes it to the big finale.

The film is tangled in its mess of references: a possession thriller that also wants to dish out some grainy video footage à la “The Ring” or “Bring Her Back” along with the expected mouth-to-mouth vomiting. Ironically, an honest-to-goodness mummy movie consumed with exotica (the first one from 1932 was released in the wake of the global mania over King Tut’s tomb) makes a lot of sense right now, with America straying into foreign deserts.

Was that in mind at any point? You’d have to ask Lee Cronin. It’s his movie and these are his mummy issues.

April 17 (Asia Today) — Corporate loan delinquency rates in South Korea are rising three times faster than household debt, increasing pressure on banks as lending expands, financial data showed Thursday.

According to the Financial Supervisory Service, the delinquency rate on corporate loans at domestic banks reached 0.76% at the end of February, up 0.09 percentage points from a month earlier and 0.08 points from a year earlier.

By comparison, the household loan delinquency rate rose 0.03 percentage points from the previous month to 0.45%, highlighting a much steeper increase in corporate defaults.

The corporate delinquency rate marked its highest level in nine months. Small and medium-sized enterprises recorded a rate of 0.92%, with small corporations at 1.02% and sole proprietors at 0.78%, indicating rising stress across the sector.

Delinquency rates among large corporations also increased, reaching 0.19% – the highest level in 28 months – suggesting that financial strain is spreading beyond smaller firms.

The trend comes as banks expand corporate lending under policies aimed at boosting “productive financing.” Outstanding corporate loans at the country’s five major commercial banks totaled about 859.8 trillion won ($573 billion) as of the end of March, up roughly 15.0 trillion won ($10 billion) in three months.

Loans to small and medium-sized enterprises accounted for about 79% of the total, while large corporate loans made up about 21%.

Regulators said rising delinquencies are most pronounced among smaller firms but warned that broader economic uncertainty could push default risks higher across the corporate sector.

Banks are responding by tightening risk management while maintaining lending growth. Major lenders are strengthening oversight from initial loan screening to post-loan monitoring, using systems such as early warning tools and AI-based credit assessments to identify high-risk borrowers.

Industry officials said the combination of expanding corporate lending and rising delinquency rates is rapidly increasing the burden on banks to maintain asset quality.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260417010005508

Michael Shoebridge, Director of Strategic Analysis Australia, says the US may be forced to end its blockade of Iran in order to see the full reopening of the Strait of Hormuz.

POP icon Madonna stunned festival-goers with a racy return to the Coachella stage as a surprise guest alongside Sabrina Carpenter.

The 67-year-old music legend teamed up with Espresso singer Sabrina for a show-stopping finale – dressed-to-impress in purple lingerie.

Two decades after her own epic headlining slot at the Californian festival, the queen of pop turned heads in a flesh-flashing frilly outfit.

Wearing a purple corset with matching lilac gloves, purple stockings and knee-high stiletto boots, the comeback queen accessorised with tinted shades and her long blonde hair down in waves.

She joined a lingerie-clad Sabrina, 26, who wowed in a white lace sparkly bodice and heels during her headline set at Coachella.

The duo delighted the crowds with classic hits including Vogue, Like A Prayer and I Feel So Free from Madonna’s new album.

PEACHY SNAP

Sabrina Carpenter flashes bum in tiny denim hotpants ahead of Coachella

HER MADGESTY

How Madonna became the queen of cool aged 67 with club-inspired album & toyboy

Sabrina had been mid-performance when an instrumental tease of Madonna‘s 1990 hit song Vogue weaved in.

Madonna told the cheering audience: “Wow, thank you.

“Sabrina, thank you so much for inviting me on your show.”

Holding hands, she replied: “No thanks needed, Madonna.”

“Well, I have a few things I want to get off my chest. So, 20 years ago today I performed at Coachella,” admitted the Ray of Light singer.

“I was in the dance tent and it was the first time I performed Confessions On The Dance Floor part one in America.

“It’s a full circle moment, you know? Very meaningful for me.” 

She urged: “Let’s try to be together. Let’s try to avoid disagreements.

“And to that point, the great thing about music is that it brings people together. 

“It’s the one place that people have to put their differences aside, put their s**t down and just everybody have a good time together, right?

“So I am thrilled to be a part of that healing experience…”

The Vogue singer confirmed this week that she will release her first record in seven years this July — a sequel to her 2005 smash Confessions On A Dance Floor.

The original, inspired by disco and Eighties electropop, shifted more than 10million copies.

It featured No1 singles Hung Up and Sorry, and ushered in a new era of dance music.

In 2024, Sabrina paid ­tribute to Madge by attending the MTV VMAs in a vintage strapless gown previously worn to the Oscars by her musical hero in 1991.

Sabrina said of Madonna last year: “She’s so lovely and exactly how you expect her to be — just, like, so magnetic.”

The Please Please Please singer has thrilled fans sharing a photo dump containing some sizzling snaps of her festival stint – including a mini dress, knee-high boots and beret combo.