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Is the Trump administration actually stealing from Venezuelans?

The Financial Times estimated the “likely value” of Venezuela’s oil revenues since January, when those income streams (not only from oil and gas, but also from gold and other minerals) came under the direct control and supervision of the US government. Using data from Kpler and Argus Media, the newspaper put the figure at $13 billion. 

Let’s assume that one figure is accurate or at least comes close to the real number. The key question here, which neither the United States nor Venezuelan authorities have bothered to answer, is how much of that has been trickling back to the Venezuelan economy.

American officials, in press conferences and hearings, have given remarks about how the revenue repatriation framework is supposed to work under the current arrangement. There was a temporary framework immediately after the gringo takeover (the famous Qatar fund we reported in January). Now, it allegedly works like this:

1) Oil revenues flow into accounts managed by the US Treasury. Crude buyers, such as India and Spain, route payments into US-controlled “Foreign Government Deposit Funds.” 

2) Secretary of State Marco Rubio (empowered by Executive Order 14373) provides instructions to the Treasury for disbursements to Venezuelan entities, particularly the Venezuelan Central Bank (BCV).

3) The funds land in BCV accounts.

4) One chunk of that pays pensions, public workers’ salaries, the military and the police apparatus, i.e. the basic components of the State.

5) Another part of those dollars is channelled to the domestic banking system through a select group of private banks—here’s where things start to get tricky. Rather than holding competitive auctions or floating currency rates on a free market, the BCV distributes capped quotas of dollars to these banks at the strictly controlled official exchange rate.

6) At the final stage, from commercial banks to the private sectors, the transaction is a direct cash sale: to purchase dollars, Venezuelan companies must have the full equivalent in bolivars ready in their accounts. Banks immediately debit the buyer’s bolivar account at the day’s official rate and credit the equivalent dollars into the company’s local foreign-currency account. It works as a rationing mechanism, since major corporations (e.g. those in key sectors like food and medicine) are prioritized, and smaller companies acquire USD on a first-come, first-served basis through online banking platforms until daily dollar quotas run out.

Good. So now we know how the repatriation framework is supposed to work.

Let’s go back to the $13 billion figure, and the stage of the sequence connecting the US Treasury and the BCV. The US calls itself de facto custodian of Venezuelan money (remember EO14373 speaks of the “Custodial Nature of United States Possession”), so it should showcase full transparency over those transactions and demand accountability from the Delcy Rodríguez government. How much money has the US disbursed? Has it published anything about those disbursements? What about the Delcy government?

The fundamental question is not only how much revenue the US and the Rodríguez administration are processing, but who ultimately benefits from these flows and whether they contribute to genuine economic recovery.

Here’s where the news is worse. Washington has not disclosed anything concrete. What we know is limited to what US officials tell journalists (mainly foreign correspondents) off the record, which is very vague, and very little. Most recently, a “senior US official” told reporter Stephania Taladrid (who wrote this 11-pager about Maria Corina Machado) that the Trump administration “authorized the disbursement of more than six billion dollars to Rodríguez’s government.” Officials had given some accounts of the amounts disbursed in the first days of the arrangement. For instance, Rubio mentioned that $300m were disbursed through the Qatari fund during a Senate hearing in late January. In early February, an anonymous US official confirmed that Venezuela received its first $500 million post-Maduro. That was the first full disbursement, the last one that the US addressed, though without offering any form of paper trail.

You could say things are equally opaque on Delcy’s front, with the caveat that we are used to this defining feature of the chavista regime. I should add something else about the US-Venezuela framework explained above: according to public statements from American officials, Caracas should submit monthly budget requests to the US, so Rubio can keep authorizing cash transfers with peace of mind. The State Department (through Western Hemisphere chief diplomat Michael Kozak, who is playing an important role in Venezuelan politics) said in April that the accounting firm KPMG was hired to produce quarterly audits of how Venezuelan oil revenues are being spent. He also claimed that, by then, $3 billion had been “moved through” to Venezuela.

Three months later, those reports do not exist. Or are not public at least. It seems that our friend El Kenedi was right when he warned Venezuela will never show you the money, but that’s the Viceroy’s fault, not just Delcy’s.

The Financial Times, which ran the story that ignited the controversy, is playing an interesting role in shaping the conversation about the value of Venezuelan assets and liabilities. Right before the devastating earthquakes, an FT scoop said the Delcy government would reveal a $240 billion debt pile (“much higher than expected”). The latest article might not paint the full picture (as a New York Times reporter suggests) but it’s perhaps the first major broadsheet to lambast Trump for his irresponsible (and misleading) remarks, and his team for the lack of transparency over the handling of Venezuelan money. This issue is nothing new, although the recent catastrophe makes full disclosure much more urgent. Other prominent figures and organizations had raised their voice before the quakes.

On June 2, Harvard economist Ricardo Hausmann wrote a column in Project Syndicate titled “The Rape of Venezuela” where he addresses this issue and others, including the politics of the looming debt restructuring and the lack of a democratic recovery. In it, he accuses the Trump White House of viewing Venezuela not as a democratic reconstruction project, but as a strategic hydrocarbon asset in the service of American power. A day later, the Council on Foreign Relations (a leading liberal-leaning US think tank) broke down how US control of Venezuelan oil remains murky. That has served as a valuable source for much of the stuff we mention here.

Going back to yesterday’s story, it quotes Venezuelan economist Alejandro Grisanti noting clear indications of large dollar inflows over the past few months. While Grisanti had initially expected economic growth to accelerate in the fourth quarter of this year, he noted that the recent earthquake is now likely to push that recovery back into the middle of next year.

These “indications of large dollar inflows” provide a clear clue as to how the Delcy Rodríguez administration is spending the oil revenues disbursed by the US Treasury. The BCV continues to deploy significant foreign currency reserves to artificially stabilize the official exchange rate. As Juan Comella observed in May, Rodríguez’s monetary policy differs little from that of the Maduro regime. Grisanti and Ecoanalítica remain sharp critics of this interventionist model, the very mechanism that wrecked Venezuela’s economy in the first place by turning privileged access to official-rate dollars into a primary driver of systemic corruption and economic inefficiency.

In an April report, Ecoanalítica criticized the rigid framework governing the domestic private sector’s acquisition of foreign exchange. Only entities with foreign bank accounts (which can be cleared through the SWIFT network) can buy dollars from the select group of major Venezuelan banks, effectively excluding emerging firms and SMEs. Consequently, local businesses receiving US dollars often cannot execute international transactions (such as paying overseas vendors) because they lack the proper banking infrastructure or because their local financial institutions lack correspondent banks abroad. Furthermore, the report highlights that retail accounts held by natural persons capture 20-30% of total FX allocations. This reflects the classic playbook of rewarding cronies while perpetuating market distortions: privileged individuals purchase dollars cheaply at the official BCV rate and immediately offload them on the parallel market at a premium.

We may not know the exact figures, but funds are trickling through the system. The fundamental question is not only how much revenue the US and the Rodríguez administration are processing, but who ultimately benefits from these flows and whether they contribute to genuine economic recovery.

Take all the time you want, LeBron. It’s your life.

Yes, it’s annoying to have to hear about it every day, but it’s your decision when to tell us where you’re going to play your 24th season of pro ball.

So, go ahead, keep NBA schedule-makers on pins and needles. Savor having workers at my local Trader Joe’s discussing your future on a Monday in the middle of July. Enjoy your twilight limelight.

But don’t tell us, on podcasts and in public appearances, that the factors you’re prioritizing are A) whether a team is built to win now; B) the proximity to your home in L.A.; and C) not money, but overall happiness — and then signal it might be the Golden State Warriors.

The Cleveland Cavaliers? They check all the boxes. That’s “home” for real. And the Cavs are ready to win with a veteran difference-maker such as LeBron. Absolutely, it would be a happily-ever-after conclusion to the LeBron epic.

The Miami Heat and Philadelphia 76ers? Nowhere close to home, but they check a box too: They’re both set up to win — and in the Eastern Conference, where they won’t have to go through the San Antonio Spurs or Oklahoma City Thunder to reach an NBA Finals.

The Warriors, though?

They check no boxes. Not a one. Not in 2026.

That would be a … choice. But let no one act like this would be LeBron leaving the Lakers for a more competitive situation. It wouldn’t be LeBron landing in a more desirable locale.

Line up Cleveland, Philadelphia, Miami and Golden State and it’s like seeing three diamonds and a square on “Sesame Street.” A 3-year-old could tell that one of those is not like the others. But that’s the third-most likely destination, as of Tuesday morning, according to the DraftKings Sportsbook.

Sure, once upon a time, a starting lineup of Stephen Curry, Jimmy Butler, LeBron James, Draymond Green and Kristaps Porzingis would have beaten almost anybody. But even those guys — besides 30-year-old Porzingis, they’re all in their late-30s or early 40s, with a ton of NBA mileage — aren’t beating Father Time.

Remember when the Lakers put together a roster awash in washed-up stars in 2021, and how disastrous that was? Turns out pairing Carmelo Anthony, Trevor Ariza, Dwight Howard, Rajon Rondo, DeAndre Jordan and, yes, Russell Westbrook was a recipe for a truly awful 33-win team.

And the Warriors? They couldn’t get out of the play-in tournament last season, when Curry played only 43 games and Butler played only 38. Also, remember, for the first time in LeBron’s career, the now 41-year-old wasn’t available to start the season. He missed the first 14 games with sciatica.

Maybe Golden State could conjure up some magic in a playoff series — but over an 82-game regular-season marathon? No way, LBJ.

Former Lakers star LeBron James (23) and former Warriors forward Draymond Green, who opted out of his contract this summer, could team up with Golden State. Or maybe not.

(Wally Skalij / Los Angeles Times)

It could be that winning isn’t everything for LeBron. The man’s legacy is locked. He’s won four NBA titles, three Olympic gold medals, 1,229 NBA games and counting. And he’s winning this summer’s engagement game too.

Perhaps it’s come to a point that he just wants to play with his friends, and after earning $53 million with the Lakers last season, he’s willing to sign a deal with Golden State for between $3.9 and $6 million — which is what the Warriors could pay him, according to ESPN cap expert Bobby Marks — to do that.

That’s lovely, but it doesn’t change the fact that LeBron wouldn’t be happy losing.

And losing when he’s the addition to Steph’s team — and make no mistake, the Warriors are Steph’s team — really wouldn’t be fun.

The superstar wars that will be fought between both players’ infamously, uh, passionate fandoms wouldn’t be fun.

The daily drumbeat of criticism from talking heads who tuned into all of those televised games — not fun.

But the commute! It’s only 380 miles or so from Brentwood to Chase Center, and that’s much closer than Cleveland or Philly or Miami.

That makes sense — if you forget there are two NBA teams in the very city where LeBron’s family lives. And on paper, they’re both better than the Warriors. And his son plays for one of them!

But one of those teams is the Clippers and the other has moved on from LeBron.

Oh, the irony.

The Lakers, if they weren’t the ex-team, would check all the boxes. They’re going to be competitive. They’re a group LeBron enjoyed playing with. They are home. And LeBron would check a pretty big box for them too, if money really isn’t a deciding factor.

But the Lakers have replaced LeBron with Walker Kessler, the 24-year-old defensive center who is the perfect complement to Luka Doncic. They’ve put in place the pillars for their future, though they do still happen to have a LeBron-sized hole at forward that isn’t going to be filled by LeBron.

And that’s OK. The next chapter will start eventually, and likely it will be set in a location where LeBron can compete and have a good time, and that he and his family can feel good about.

Or in San Francisco.

It was a very warm homecoming at the box office this weekend for Christopher Nolan’s “The Odyssey,” as the star-studded epic grossed $124.5 million in the U.S. and Canada, a welcome and massive jolt for theaters after a series of slower weeks.

The Universal Pictures film’s haul outperformed studio expectations of a $117 million domestic opening and set a record for the highest-grossing opening weekend for a live-action or R-rated film so far this year.

“The Odyssey” now ranks as the third-highest domestic debut of 2026, trailing only Disney and Pixar’s “Toy Story 5” ($159.7 million) and Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie” ($131.7 million).

The film, which stars Matt Damon as Odysseus, brought in a total of $264.1 million worldwide, according to studio estimates. That marks the biggest global opening ever for a Nolan film.

“The Odyssey” was produced by Nolan and his wife and producing partner Emma Thomas for their company, Syncopy, and had a production budget of about $200 million to $250 million.

“It delivers on every sort of promise,” said Jim Orr, Universal’s president of domestic distribution. “It is totally immersive. It is great emotional storytelling. It is something that truly has to be experienced on the big screen.”

The nearly three-hour epic is the first feature to be shot entirely on Imax cameras, a feat that required extensive cooperation between Nolan and the Canadian entertainment tech company, which operates out of Playa Vista.

Nolan first told Imax Chief Executive Rich Gelfond in early 2024 that he was considering making an entire film with Imax cameras and laid out what he’d need for that to happen, including a quieter and lighter camera, a way to make film reloads easier and getting enough trained projectionists.

“It took a fair amount of time and investment” to figure out those challenges, Gelfond said. But by August 2024, the Imax team put together a series of tests to show cinematographer Hoyte van Hoytema. Two months later, Nolan saw the tests and was impressed.

“As filmmakers and studios integrate Imax, we become an increasingly important part of the ecosystem,” Gelfond said. “When a film is released in Imax or shot in Imax, I think it’s a signal to audiences that it’s somewhat special, and the filmmaker is really leaning in in a unique way.”

Anticipation for the film has been building for at least a year, when the first Imax 70mm tickets went on sale. Pre-sales for “The Odyssey” shattered the previous Imax record by nearly double, the company said.

Enhanced formats made up 53% of the domestic weekend’s total, with both film and digital Imax revenue comprising 23.8%. Imax 70mm comprised about 4% of that total, with Imax digital making up the rest. Non-Imax 70mm film screening revenue totaled 3%, while 35mm showings made up 0.3%.

Adding to the film’s mystique is Nolan’s reliance on old-school Hollywood practical effects, such as his use of puppetry, animatronics and robotics in scenes with the Cyclops, as well as a real Viking boat that the actors learned to sail.

The massive reception for the film is a relief for theater owners, who weathered their own rough waters in the last few weeks, as Walt Disney Co.’s live-action “Moana” underperformed in its opening at the box office and Universal and Illumination’s “Minions & Monsters” had a softer debut.

“Moana” came in second at the box office this weekend with a domestic haul of $19 million. “Minions & Monsters” ($14.8 million), “Toy Story 5” ($14.8 million) and Warner Bros. Pictures’ “Evil Dead Burn” ($5 million) rounded out the top five, according to data from Rentrak.

Maiara Niehues scored for the fifth straight game and Sveindís Jonsdottir added a late goal to lead Angel City (7-6-1) to its third straight win, 2-0 over the Chicago Stars on Saturday.

Niehues scored on a penalty kick in the 56th minute after a video review determined Ary Borges was fouled in the box.

Jonsdottir scored on a breakaway in stoppage time.

Since taking over as interim coach, Leif Smerud has led Angel City to three straight 2-0 wins, the first time the club has had three consecutive shutout wins.

Spain international Leila Ouahabi made her debut for the Stars (4-11-0).

Walt Disney Co.’s “Moana” lost its way at the box office this weekend as the company’s latest live-action remake opened to a sluggish $43 million in the U.S. and Canada.

The domestic haul for “Moana” underperformed studio expectations, which ranged from $60 million to $65 million. Globally, the film brought in a total of $95 million on a production budget of about $250 million.

Despite its lackluster debut, the film still came in first at the box office during a weekend where it had few new competitors in the family film space.

The “Moana” franchise has been a box-office and streaming juggernaut. The original 2016 animated movie brought in more than $643 million worldwide and is the most-watched movie on Disney+, while a 2024 sequel grossed more than $1 billion at the global box office. On the merchandise side, more than 22 million “Moana”-themed toys have been sold. “Moana” also appears in the Disney theme parks.

But the theatrical reception for the live-action film may signal that audiences think there’s been too much “Moana” in just 10 years. (The 2024 film sequel was originally set to be a streaming series before it was moved to Disney’s theatrical calendar.)

Most of Disney’s previous live-action remakes have come decades after the original animated movie, such as 2025’s “Lilo & Stitch,” which arrived 23 years after its animated predecessor and grossed more than $1 billion in worldwide box office receipts.

The theatrical haul for the latest “Moana” may also have suffered from poor reviews — the film got a 34% on aggregator Rotten Tomatoes, with several critics highlighting its nearly frame-by-frame similarity to the original film. The audience score on Rotten Tomatoes, however, was 90%.

Still, as the last of this summer’s major animated films, “Moana” could see a longer tail in theaters, particularly with many children still on break from school. Disney’s live-action “Mufasa: The Lion King” opened in 2024 to a middling $35 million, but ended up grossing more than $722 million globally through the holiday season.

Universal Pictures and Illumination’s “Minions & Monsters” came in second at the domestic box office this weekend with $20.5 million. Disney and Pixar’s “Toy Story 5” continued its strong run with an $18.5-million haul, enough for third place and contributing to a total global gross of $879.1 million.

Warner Bros.’ “Evil Dead Burn” ($13.7 million) and Angel Studios’ “Young Washington” ($6.4 million) rounded out the top five.

Also notable this weekend: Lionsgate’s musical biopic “Michael” crossed $1 billion in worldwide box office revenue, the first time that the studio has reached that milestone and the second film this year after “The Super Mario Galaxy Movie” to hit that mark.

Maiara Niehues scored for the fourth straight match and Ary Borges added a goal as Angel City defeated the league-leading San Diego Wave 2-0 at Snapdragon Stadium on Saturday.

After goalkeeper Luisa Agudelo failed to corral the ball, Niehues beat defender Perle Morroni to the ball and headed it home for the 1-0 lead in the 17th minute.

Sveindís Jonsdottir’s long throw into the box in the 26th minute was put away by Borges to make it 2-0 in the 26th minute.

Angel City attacker Jun Endo went down with a non-contact injury in the 33rd minute and was assisted off the pitch visibly shaken.

Borges took down midfielder Kimmi Ascanio in the box, resulting in a penalty kick for the Wave (9-5-1) in the 86th minute, but Lia Godfrey’s shot from the spot hit the post.

Angelina Anderson had six saves for her fourth clean sheet of the season for Angel City (6-1-6).

San Diego’s shutout streak came to an end at 242 minutes.

SEATTLE — Is everybody happy now? You good, Mr. President?

Put our boys in a blender, President Trump did, with those phone calls to FIFA President Gianni Infantino. Messed with their mojo by politicking to get American striker Folarin Balogun’s red card rescinded.

We’ll have to check VAR, but it might be the first time Trump succeeded at having a decision overturned.

Probably because this time what he sought to overturn — discipline stemming from Balogun’s accidental contact in the United States’ victory over Bosnia and Herzegovina — actually was unjust. Balogun should not have received a red card.

The problem is, having our President butt in here was a joke. Unfunny and out of bounds, offsides, an own goal — all of the things.

It put the U.S. team at the center of a geopolitical maelstrom, which is exactly what they did not need in the hours before the biggest match of their lives and the biggest match in the history of the U.S. men’s soccer program.

Some 40 or 50 million viewers were expected to tune in; how many of them watched for the first time? And what sort of impression did Monday’s 4-1 blunder-filled meltdown against Belgium make? That we stink at soccer — still?

If you were one of them, please, believe your soccer-fan friends when they tell you the Americans played much better in previous matches.

But so much for a magical run. On their home turf, the Americans pulled up lame before the finish line (aka, for the U.S. team’s purposes, its first quarterfinals since 2002).

To their credit, after the debacle, members of the U.S. team didn’t complain about anything being rigged. They didn’t use the distraction as an excuse. And they didn’t point fingers at anyone — anyone at all.

U.S. striker Folarin Balogun (20) walks to the locker room at halftime against Belgium in the World Cup on Monday at Lumen Field in Seattle.

(Allen J. Schaben / Los Angeles Times)

“We’re playing on home soil,” defender Chris Richards said. “So the only pressure we put on ourselves is to perform for our country, and ultimately didn’t feel the way we wanted to today. But I don’t think the antics of the last 24 hours had anything to do with it.”

No, they said the “debate,” or “outside noise” or “political manipulation” — as Tim Ream, Alex Freeman and coach Mauricio Pochettino described what others are calling “Balogate” — were not to blame for the gut-punch that answered the question: Why not us?

Because the U.S. is not yet good enough to beat the world’s great teams. Especially not when their pregame preparation includes having to try to block out an international uproar.

To have any hope against the Belgians in the round of 16 — a matchup between FIFA’s Nos. 9- and 17-ranked sides — the Americans needed to be going full-tilt, to be focused and ferocious and probably also a little bit lucky.

Instead, they looked shook, rattled. And they got rolled.

They were the worst version of themselves at the worst time, which was so weird from a team that had been on its front foot from the first whistle against Paraguay.

Not Monday. Against Belgium, they were on their heels from the outset. Heavy touches, slow afoot, playing like they had the weight of the World Cup on their shoulders.

And all that White House maddening meddling — for what?

Balogun started and played most of the match, but it could just as well have been reserve striker Ricardo Pepi. Or you or me, Balogun was that ineffective.

His play of the day came postmatch, when he approached Belgian coach Rudi Garcia and the two had a respectful exchange. A real diplomat, that Brooklyn-born, Britain-raised American by birthright.

This loss was a real team effort, of course. Christian Pulisic came off in the 59th minute after twisting his right ankle — leaving this World Cup without a goal in the four matches he appeared.

Matt Freese, the Harvard-educated starting goalkeeper, had a brain cramp of epic proportions when he stepped outside of the box and failed to corral a ball. Belgium’s Charles De Ketelaere kicked it loose and set up Hans Vanaken, whose shot traveled behind Ream for an easy score that made it 3-1 in the 57th minute.

There was a lot of poor decision-making with this match, on and off the pitch.

In the end, Trump’s appeal to Infantino did more harm than good. But what if some good could come from it?

Hey, FIFA, what about giving teams a process to appeal cards, like our American athletes in the NBA, NFL and MLB have?

Offering a suggestion box wouldn’t be opening Pandora’s box, not if it were a transparent and regular part of the game that would, hopefully, offer increasingly fair outcomes in a tournament where every match is so monumental — as our President recognized, much too enthusiastically.

U.S. coach Mauricio Pochettino waves to the crown after a 4-1 loss to Belgium at the World Cup on Monday.

(Allen J. Schaben / Los Angeles Times)

The Minions took over theaters this weekend as Universal Pictures and Illumination’s “Minions & Monsters” won the top spot at the box office, though with a lower-than-expected domestic haul.

The animated movie, which follows the Minions’ takeover of Hollywood, took in $61.4 million in the U.S. and Canada for the five-day Fourth of July holiday weekend, according to studio estimates. That haul was lower than analysts’ expectations for a domestic opening of about $68 million. The movie’s three-day total was $36.4 million.

But the Minions performed well internationally, bringing in about $85 million. In total, “Minions & Monsters” made $159.9 million worldwide on a production budget of about $85 million.

The film is the latest in the powerhouse franchise that began with “Despicable Me” in 2010. Across its previous six installments, the “Despicable Me” and “Minions” franchise has made more than $5.6 billion at the global box office. The last movie, 2022’s “Minions: The Rise of Gru,” made more than $940 million worldwide.

“Minions & Monsters” marks the lowest opening for the franchise. Part of the issue could be timing — the box office can be negatively affected when the Fourth of July lands on a Saturday, said Paul Dergarabedian, head of marketplace trends at Rentrak.

Walt Disney Co. and Pixar’s “Toy Story 5” came in second at the box office this weekend with a domestic three-day gross of $31 million. Angel Studios’ biopic “Young Washington” ($20.8 million), Warner Bros. and DC Studios’ “Supergirl” ($9.6 million) and Universal’s “Disclosure Day” ($6 million) rounded out the top five, according to Rentrak.

The haul for “Minions & Monsters,” coupled with the strong holdover performance of “Toy Story 5,” proved again that family films are making a dent in the summer box office.

“Toy Story 5” has now brought in a total of $764.3 million worldwide, and last month, Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie” crossed $1 billion at the global box office, becoming the first film of any kind to do so this year.

The rest of the summer theatrical lineup is also expected to bring in audiences and push domestic box office totals closer to pre-pandemic figures. Next week, Disney will release its live-action “Moana,” followed by Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day.”

To date, the summer box office is now about $2.3 billion, a nearly 12% increase compared with the same period a year ago, according to Rentrak data. Compared with pre-pandemic 2019’s numbers, however, it is still down about 7%.

It’s been about a month into the all-important summer box office season, and already, there is a noticeable boost in optimism.

I wrote last week about how the massive debut of Walt Disney Co. and Pixar’s “Toy Story 5” was a promising sign; many analysts and movie theater operators believe the summer’s theatrical revenue could finally reach pre-pandemic levels.

The cinema business has been propelled by the likes of Paramount Pictures and Miramax‘s “Scary Movie,” Universal Pictures’ “Disclosure Day” and, of course, A24’s “Backrooms” and Focus Features’ “Obsession.”

With more potential blockbusters on the way, my colleagues David Viramontes, audience editor for arts and entertainment, and Cerys Davies, who covers the business of the entertainment industry, joined me to give our best predictions for how this summer will shape up.

What will be the biggest movie of the summer?

Masunaga: After seeing how family movies — specifically, PG-rated films — were the winners of the last two years, I think we’ll be seeing “Toy Story 5” emerge at the top. The movie has already brought in more than $585 million worldwide less than two weeks after it opened, and if its billion-dollar-grossing predecessors are any indication, this franchise may still have a long life at the box office.

Viramontes: After the R-rated, three-hour drama “Oppenheimer” made nearly $1 billion at the worldwide box office in 2023, it would be professional malpractice not to pick Christopher Nolan’s “The Odyssey” as the biggest movie of the summer — and possibly the year. 70-millimeter IMAX screenings were sold out a year in advance and premium format tickets are still hard to come by in Los Angeles. Not to mention tentpole movies like this attract repeat viewings and even encourage viewers to seek out screenings in every format. And we haven’t even talked about how the film boasts one of the most stacked casts in recent history.

Davies: In an effort to play it safe, I’m going to pick a family movie and bet on “Toy Story 5.” Think about the dog days of summer — when the air gets heavy, a sense of inexplicable boredom takes over and it’s almost too hot to do anything. Deep down, you know the only reprieve is sitting in the comfort of your local theater chain’s air conditioning. But, at this point, you already saw “The Odyssey” with all your friends at the earliest available IMAX showing. What else will scratch that box office itch? I’m willing to bet it’ll be none other than the familiar faces of Woody, Jessie and Buzz Lightyear, as they fend off technology in their home.

Which movie’s marketing campaign will be the talk of the summer?

Masunaga: The marketing for “The Odyssey” has been less overt than that of other summer releases, giant Trojan horse in Venice Beach notwithstanding. But a film helmed by Nolan and starring a plethora of A-list actors basically markets itself. After all, both official trailers for the film have garnered more than 30 million views on YouTube.

Viramontes: I’m prepared for Spider-Man to be everywhere. From buses and billboards to talk shows and TikTok, the movie will reach full saturation. While “Brand New Day’s” marketing campaign hasn’t reached fever pitch just yet, I’m prepared to be inundated with activations, posters and commercials for the four-quadrant fave that’s poised to be one of Marvel’s biggest successes in years.

Davies: A massive orange monster named Irene with dozens of eyeballs has nearly engulfed the historic Carney’s restaurant on Sunset. A giant inflatable “Rich” minion, sporting a goatee and a blinged out chain, popped up on Fairfax. And minions have taken over Wendy’s frosty machines with a new banana flavor. At this point, Universal and Illumination could put a minion on every Los Angeles street corner, and I wouldn’t grow tired of them. (The ominous, goggle-wearing eye overlooking the 101 freeway just isn’t enough.)

What will be the biggest wild card of the summer?

Masunaga: The biopic “Young Washington” could make waves. Distributed by Provo, Utah-based Angel Studios, the movie has the backing of the studio’s 2 million Angel Guild members, who determine its slate and get other perks, including free movie tickets. That support proved crucial for 2023’s “Sound of Freedom,” which ended up grossing more than $250 million worldwide, and could end up being a factor here, too.

Viramontes: “The End of Oak Street” has been teasing a dinosaur adventure in trailers, but can the mystery box movie starring Anne Hathaway and Ewan McGregor attract audiences? There’s also potential counter programming to blockbuster hopefuls dotted throughout the summer with “Teenage Sex and Death at Camp Miasma.” But I’m putting my money on “Evil Dead Burn.” Horror movies put butts in seats, and this summer doesn’t have many other straight-down-the-middle scares in store for audiences.

Davies: There’s an Anthony Bourdain biopic called “Tony” hitting theaters in August. These days, it feels like Hollywood will make a biopic about just anyone, but something about seeing Dominic Sessa channel the chef’s undying passion for food and effortless swag on screen seems irresistible. Plus today’s audiences love stories about intense kitchens (“The Bear”) and debatable biopics (“Michael”) — let’s see what happens when the two marry.

Both Warner Bros.-owned DC Studios’ “Supergirl” and Sony Pictures‘ “Spider-Man: Brand New Day” are part of this summer’s lineup. Will we see a turnaround from the recent superhero fatigue at the box office?

Masunaga: This past weekend marked a disappointing debut for “Supergirl,” which brought in just $37.1 million in the U.S. and Canada and about $62.6 million worldwide on a reported budget of $170 million. Box office analysts had been expecting a domestic opening of about $47 million to $50 million. On the other hand, pre-sales for “Spider-Man: Brand New Day” have been extremely strong. Not every superhero movie prints money anymore, so even with a potentially big haul for “Spider-Man,” I don’t know that it’ll signify a complete turnaround for the genre as a whole.

Viramontes: If there’s any superhero with enough pull to rescue the genre from fatigue after “Supergirl’s” poor performance, it’s your friendly neighborhood box office king Spider-Man.

Davies: Tom Holland’s Spider-Man definitely has the potential to cure superhero fatigue, at least for a few months. But as soon as the internet’s favorite couple, Zendaya and Holland, stop walking red carpets and doing press together, audiences are likely to put superhero movies on the back burner once again.

Analysts and theater owners have predicted that this summer’s box office will reach pre-pandemic levels. Will that momentum continue for the rest of the year?

Masunaga: Yes. The lineup of movies this year is more plentiful and varied than in years past, and with massive blockbusters slated for the holiday season, I think it’s very possible we could see a year-end domestic box office total of $9 billion or more.

Viramontes: Yes. We’ll have an action horror in September with “Resident Evil,” Zach Cregger’s follow-up to “Weapons.” In October, Tom Cruise’s long-awaited “Digger” might hit pay dirt. Following that in November is the new “Hunger Games” movie, “Sunrise on the Reaping.” And I don’t even have to mention “Avengers: Doomsday” and “Dune: Part Three,” the juggernauts waiting for us in December, do I?

Davies: Given the overall excitement from audiences of all ages and the variety this summer’s box office has to offer, this season will definitely be the one to do it. When Christopher Nolan, Spider-Man, the minions and the toys from “Toy Story” join forces, there’s no stopping them.

“The Pitt” and its economic effect on California

As film and TV production has fled the Golden State in search of cheaper locales, HBO Max medical drama “The Pitt” stands out as a major contributor to California’s economy.

My colleague Meg James wrote about the economic impact of the show, which films almost entirely on the Warner Bros. lot in Burbank and has provided jobs for about 1,000 people. The show’s first season alone contributed $125 million to California’s gross domestic product, according to an estimate from Oxford Economics.

“We’re old men who didn’t want to go away from our homes any longer,” series star Noah Wyle, who also serves as an executive producer and writer on the show, said, half-joking. “We’ve all been plying our trades out of state, chasing tax credits and being away from our families for a really long time.”

Stuff We Wrote

Film shoots

Number of the week

Disney and Pixar’s “Toy Story 5” continued its dominance this weekend, pulling in $70 million in the U.S. and Canada to stay on top at the box office.

The animated film has now grossed more than $585 million worldwide in less than two weeks. The haul for “Toy Story 5” helped push Disney past the $3-billion mark at the global box office, making it the first studio so far this year to hit that milestone.

What I’m watching

I feel like I’m always catching up on shows, and this week was no exception. I’m just now starting Season 2 of Netflix’s “A Man on the Inside,” which continues the hilarious exploits of retired engineering professor-turned-private-investigator Charles, played by Ted Danson. As a fan of “The Good Place,” I’ve loved the similar humor of this latest Michael Schur show.

When FIFA expanded the World Cup field from 32 to 48 teams for this summer’s tournament, the gnashing of teeth and clutching of pearls was as predictable as it was loud. The field would be watered down, the traditionalists protested. The group stage would be a series of blowouts, the sharks would devour the minnows.

In fact, none of that happened.

What we got instead was plucky Cape Verde playing No. 3 Spain to a draw and becoming the smallest nation to reach the elimination rounds. We got Austria advancing on a goal six minutes into stoppage time — eliminating unbeaten Iran, which deserved better — and Canada, Egypt and the Democratic Republic of Congo all winning World Cup games for the first time.

We got Lionel Messi scoring six goals and Mexico and Spain giving up none. We got South Africa, Canada, Egypt and Cape Verde advancing to the knockout rounds for the first time while South Korea and Uruguay went home.

It was one of the most surprising, exciting and compelling group stages in recent World Cup history. And on Sunday it gave way to the first game of the knockout rounds, with Canada beating South Africa 1-0 on a goal by LAFC midfielder Stephen Eustáquio in the second minute of stoppage time.

Canada’s Stephen Eustáquio reacts after a 1-0 win over South Africa at the World Cup on Sunday at SoFi Stadium.

(Robert Gauthier / Los Angeles Times)

Unlike much of the group stage, Sunday’s game was a sloppy, sleepy affair, with South Africa relying on some heroic play from its back line to keep the game even. But it ended with a bang with Eustáquio latching on to a loose ball at top of the box and blasting a right-footed volley just inside the left post.

Canada will play the winner of Monday’s Netherlands-Morocco match in the round of 16 next week. For South Africa, the World Cup is over.

For both countries, this World Cup was the most successful ever. Canada, which is sharing host duties with Mexico and the U.S., has won twice. South Africa had won games before, but it had never gotten beyond the group stage.

For South Africa, that success is part of a continental soccer resurgence. Four years ago in Qatar, Morocco became the first African nation to reach the World Cup semifinals. This summer, thanks to the expanded field, 10 African nations qualified for the tournament and nine advanced to the round of 32.

And the rise of African soccer hasn’t just boosted the fortunes of African teams. Top-ranked France, a World Cup favorite, has 21 players of African descent on its roster; at least a dozen other non-African teams, including Canada, have at least two players of African heritage.

Canada is one of the world’s most diverse countries with nearly a quarter of its population having been born somewhere else. Former coach John Herdman leaned into that diversity when he took over the men’s team in 2018; four years later, Canada made its second trip to the World Cup with a lineup that included four dual nationals.

Jesse Marsch, the U.S.-born coach who succeeded Herdman, doubled down on that. As a result, the 26 players on Canada’s roster, or their parents, come from more than 17 countries — from Iran, Croatia, Jamaica and Barbados to Haiti, Lebanon, Nigeria and the Philippines. Captain Alphonso Davies, Canada’s best player, was born to Liberian parents in a refugee camp in Ghana before being resettled in Edmonton, becoming a citizen in 2017.

Canada goalkeeper Maxime Crepeau makes a save against South Africa on Sunday.

(Ronaldo Bolanos / Los Angeles Times)

Davies, who hasn’t played since sustained an acute hamstring injury in early May, came on in the 76th minute Sunday and had an immediate influence, threading a perfect pass to the feet of Promise David, whose right-footed shot from the top of the box drifted inches wide of the left post.

Three minutes later, Davies drew two defenders to him on the left flank, opening space for Jonathan David to slip into the box and get off a tight-angled shot near the end line that stood up South African keeper Ronwen Williams. But the winner came from Eustáquio, the son of Portuguese parents who Herdman wooed away from the Portuguese U-21 team in 2019.

He has made 60 appearances with Canada’s senior national team, none bigger than Sunday’s.

Canada’s Tani Oluwaseyi, center, gets caught between South Africa’s Khuliso Mudau (20) and Sphephelo Sithole during the first half Sunday.

(Kelvin Kuo / Los Angeles Times)

Through the first two games of this summer’s World Cup, the U.S. was about as perfect as a team could be. It won both games, never trailed, gave up just a goal and won its group handily, playing with a verve and confidence that erased all the doubts that had shadowed it coming in.

Then came Thursday.

With Mauricio Pochettino making a record nine changes to a lineup that had given the U.S. its most successful start to a World Cup in 96 years, the B team that closed the group stage at SoFi Stadium with a 3-2 loss to Turkey served to remind everyone how flawed this group can be.

The backline was porous, goalie Matt Turner gave up goals on the first two shots he faced and with the exception of midfielder Sebastian Berhalter, who had a goal and an assist, none of the starters really distinguished themselves. Whether any of that matters won’t be known until the U.S. next takes the field in the knockout rounds, facing Bosnia and Herzegovina on Wednesday in Santa Clara, Calif.

For Pochettino, whose contempt for convention has been a hallmark of his team’s World Cup run, clearing his bench and getting a U.S.-record 23 players on the field in the group stage was more more important than the result.

“The objective was to finish first and we are first,” he said. “Now it is the next stage and it is going to be a final. And we are ready. We are much better than before that game because we had players now with 90 minutes in their legs and performing and ready to help if we need from the beginning or from the bench. It’s all positive.”

Maybe. Sure, Christian Pulisic, who hadn’t played since the first half of the first game, got back on the field and looked good in a 32-minute cameo. But other than that the game was meaningless since the Americans had already won the group and qualified for the next round while Turkey was going home no matter the result.

The U.S. came in riding a huge wave of momentum, though, and that’s gone now, erased on Kaan Ayhan’s goal on the last touch of the game.

Does that matter?

“No,” captain Tim Ream said with conviction. “You just turn the page.”

The experience the role players got, he said, is more important than the final score.

“When we say it didn’t mean anything, it’s still a meaningful game, right? It’s a World Cup game,” he said. “So it gives everybody a taste of what life will be like if they are called upon and have to contribute.”

Midfielder Tyler Adams wasn’t so sure.

“I don’t know what it’s going to do,” he said. “I can’t predict the future. I don’t have an eight ball in front of me. We’ll see what happens.”

What Adams can say with certainty, however, is that in the future the U.S. will have no room for error. The games are all elimination matches now and 13 players on the U.S. roster, including Adams, have experienced that first hand, having lost in the round of 16 four years ago in Qatar.

Turner said it’s up to those veterans to impart that wisdom on the 13 who are playing in their first World Cup.

“You need to really take care of the boxes when it comes to knockout round. That’s the biggest lesson that we learned,” said Turner, who started all four games in the last World Cup. “It’s not necessarily how beautiful a style you play. The chances you create is important, [but] the way you defend your box is more important.

“Those games are going to be decided by one goal, they’re going to be narrow, and we’re going to have to be compact and be together, defensively, offensively, and take the chances when they come.”

The U.S. did little of that Thursday.

After a Berhalter corner set up Trusty for the first goal in the third minute, Turkey’s Arda Guler, a Real Madrid midfielder, tied the score seven minutes later, splitting a pair of U.S. defenders and running onto a pass from Kenan Yildiz in the center of the box, then lifting a shot over Turner.

Orkun Kokcu handed the U.S. its first deficit of the tournament when he found another big hole in the U.S. defense, redirecting a cross from Eren Elmali in from the center of the box to give Turkey a 2-1 lead.

Berhalter tied the score again four minutes into the second half, latching onto a loose ball at the top of the penalty area and one-hopping a right-footed shot just inside the near post. The game stayed that way until Ayhan, who came on with two minutes left in regulation, slid between two U.S. defenders to knock in the game-winner eight minutes into stoppage time.

For Berhalter, one of a record 21 Americans to get a start in this World Cup, Pochettino’s decision to clear his bench was not only a reward, it was preparation for what’s to come.

“It’s every little kid’s dream, across the United States of America, to play in a home World Cup. Just in a World Cup in general,” he said. “People made their debuts today, so congratulations everyone. This is what everybody looks forward to.”

More important, he added, “we know everyone’s ready to step up at any moment.”

Which is good because history suggests the road ahead is about the get a lot more challenging. The loss to Turkey was the Americans’ 10^th straight to a UEFA team, running their winless streak against European opponents to 13 in a row.

Guess which continent Bosnia and Herzegovina, who the U.S. faces next, is from?

Sports editor Iliana Limón Romero contributed to this story.

It’s been more than 30 years, but Andy’s toys are proving irreplaceable at the box office.

Walt Disney Co. and Pixar’s “Toy Story 5” opened to a massive $160 million in the U.S. and Canada last weekend, marking the biggest domestic box office debut so far this year. Internationally, the film brought in $152 million for a worldwide total of $312 million.

With those numbers, “Toy Story 5” broke several franchise records for opening weekend totals. As my colleague Cerys Davies and I wrote last week, it’s a sign of the long-running juggernaut’s firm grip on audiences amid a sea of Hollywood sequels, reboots and spinoffs.

“‘Toy Story’ has been breaking ground since it first hit the screen more than 30 years ago,” Disney Entertainment Studios Chairman Alan Bergman said in a statement. “It’s wonderful to see ‘Toy Story 5’ continuing that tradition and connecting with audiences around the world to deliver the biggest opening for the franchise and the biggest of this year as well.”

For theater owners, “Toy Story” may have seemed like a surefire bet. After all, the franchise has grossed more than $3 billion in worldwide box-office revenue, and its third and fourth installments each made more than $1 billion globally.

The big opening weekend for “Toy Story 5” has no doubt brightened the outlook for many theater operators as the all-important summer movie season gets underway.

Already, last weekend’s box-office totals were a whopping 80% improvement compared with a year ago, when Universal Pictures’ live-action “How to Train Your Dragon” was in its second weekend in theaters. But more importantly, the domestic box office is now up 14% to $4.46 billion compared with the same time a year ago, according to data from Rentrak.

This summer’s lineup of films, including “Toy Story 5,” will play an important role in terms of whether 2026 will truly be the year that the theatrical business turns the corner from the COVID-19 pandemic and the dual Hollywood strikes of 2023.

In one promising sign, summer box-office revenue so far is up 15.2% to about $1.84 billion compared with the same May to mid-June period in 2025. (That summer ultimately ended in a dismal finish of $3.67 billion.) Compared with pre-pandemic 2019, this year’s summer box office to date is down just 1.9%.

Studio executives and theater owners have told me they feel good about this summer and are optimistic about the overall outlook for 2026.

It’s easy to see why. The deck is stacked, with upcoming titles such as Universal and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day.”

In a propitious sign, presales for “The Odyssey” and “Spider-Man” have already shown massive demand. Overall, there’s just more and varied movies in theaters now, which expands the pool of potential moviegoers, theater owners have said.

Take A24’s “Backrooms” or Focus Features’ “Obsession,” for instance. The two original and digital-native films shocked the industry by keeping a weeks-long grip on the box office, largely by attracting Gen Z audiences who were familiar with the 20-something directors from their followings on YouTube.

Beyond these two, as well as Steven Spielberg’s “Disclosure Day,” many of this summer’s films continue established franchises.

Although not all spinoffs have performed this year — including Disney and Lucasfilm’s “Star Wars: The Mandalorian and Grogu,” which saw ticket sales drop sharply after its late May opening — “Toy Story” has remained a consistent force in theaters over the decades.

Disney and Pixar executives credit the films’ focus on character relationships, particularly that of Tom Hanks’ Woody and Tim Allen’s Buzz Lightyear. And as the franchise spanned years, its appeal became generational.

“Having parents now that say, ‘I grew up with ‘Toy Story,’ and now I’m showing my kids,’ has been really gratifying,” Pixar Chief Creative Officer Pete Docter told me by phone a week before the movie’s opening.

“Toy Story” is now the most-watched franchise on the Disney+ streaming service, with more than 2 billion hours streamed. And its beloved characters have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

That has no doubt kept the franchise front and center for both adults and children, as well as fueling interest in future stories.

Stuff We Wrote

Film shoots

Number of the week

The FIFA World Cup has been a major boost for broadcasters, as an average of 6 million viewers tuned in to Fox and cable network FS1 for the first 16 group stage matches, an increase of 128% compared with the last World Cup in 2022, according to Nielsen data released last week.

On Spanish language network Telemundo, which is owned by Comcast, the first 12 group stage matches drew an average of 7.5 million viewers, up 234% from four years ago. (The Telemundo telecasts are also streamed on Peacock.)

I was in the Bay Area last week on vacation and didn’t watch many of the games, but I did catch my colleague Clara Harter’s great read about the mutual love and respect between fans of Mexico and South Korea and how that has played out in Los Angeles.

What I’m watching

Since I was out of town last week, I didn’t watch a ton of TV. But I did make time to watch the series finale of “The Way Home,” a quirky time-travel drama on Hallmark that I’ve followed for all four seasons.

I’m a big fan of time-travel stories (The “Back to the Future” trilogy is one of my favorites), so the usual past-future questions, plus the complicated family dynamics anchored by matriarch Andie MacDowell, made this a must-watch for me. The series finale was a satisfying ending, though there are definitely some loose strings that deserve further exploration.

“Toy Story 5,” the latest installment to one of Disney Pixar’s longest-running franchises, topped the box office this weekend.

The tech-fueled tale, led by fan favorite characters Woody, Buzz Lightyear and Jessie, earned $160 million for its opening weekend at the domestic box office and a global total of $312 million, according to Rentrak Data. The animated feature now holds the biggest box office opening of the year, further signaling what could be a massive summer for theaters.

Steven Spielberg’s “Disclosure Day” came in second at the box office with a domestic haul of $17 million. “Obession,” “Backrooms” and “Scary Movie” rounded out the top five.

“Toy Story 5” features the original cast, including Tom Hanks as Woody, Tim Allen as Buzz Lightyear and Joan Cusack as Jessie. The story follows the beloved band of toys as they grapple with the introduction of technology into their home, with a tablet named Lilypad. The production budget for “Toy Story 5” is about $150 million to $200 million, and a crew of about 300 people worked on the film at Pixar’s Emeryville, Calif., headquarters.

“Tech versus toys is a very easy concept for families and parents to grasp. Every family goes through that to some degree,” said Andrew Cripps, head of theatrical distribution for Walt Disney Studios.

With the successes of “Inside Out 2” and “Zootopia 2,” sequels have proved to be dependable releases for Disney and Pixar in recent years. But “Toy Story” has been a steadfast juggernaut for the entertainment giant. This new release marks a new debut weekend record for the 31-year-long franchise, beating the nearly $121-million opening of 2019’s “Toy Story 4.” The original opened with $29 million in 1995, 1999’s “Toy Story 2” hit $57 million, and the third installment from 2010 received $110 million.

“The franchise is just so big,” Cripps added. “It’s in the theme parks. The consumer products keep it alive. It’s been 31 years with five movies, so it’s not like it’s overstayed its welcome. They’re very good at Pixar. They tell a story when they have a story worthwhile telling, and it feels like this one was worthwhile.”

Across the franchise’s lifetime, “Toy Story” has grossed more than $3 billion worldwide. The new movie also landed the second-highest animated opening weekend of all-time, behind only “Incredibles 2,” which earned $182 million.

Building off the surprise successes of budget horror films like “Obsession” and “Backrooms,” “Toy Story 5” brings yet another major boost to this year’s box office. Domestic ticket sales are up over last year, and Roth Capital Partners forecasts the second quarter will climb 6.5% to $2.8 billion.

With this uptick, there’s a chance the box office could climb back to pre-pandemic numbers. The 2026 box office is tracking 1.1% behind the summer of 2019 and 16% ahead of last year, according to Paul Dergarabedian, head of marketplace trends at Rentrak data.

“The industry’s on a roll,” Dergarabedian said. “There’s some unpredictable things that have happened so far this year, with the holdover strength of ‘Project Hail Mary,’ ‘Michael’ and ‘The Devil Wears Prada 2.’ Their worldwide grosses are incredibly impressive. It’s a phenomenon.”

“Toy Story 5” is just the first of several theatrical tentpoles hitting the big screen later this summer. Rentrak predicts this could be another $4-billion summer season domestically, following in the steps of the 2023 “Barbenheimer” summer.

Warner Bros.’ DC Studios has “Supergirl” landing later this month. Universal Pictures and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day” are all lined up for releases in July.

Times staff writer Samantha Masunaga contributed to this report.

Iran’s terrible, horrible, no good, very bad World Cup got a lot better Sunday.

By playing Belgium to a scoreless draw before another packed house at SoFi Stadium, Iran is in position to win its group with a victory over Egypt on Friday and advance to the knockout stage for the first time.

That would be a just reward for a team that is unbeaten two games into what has been a trying tournament off the field.

Before it even left Iran, the team was forced to move its training camp from Tucson to Tijuana, and more than a dozen members of its delegation were told they would be barred from entering the U.S. The players had their movements in the U.S. severely limited, heard their national anthem jeered twice and generally have been unwelcome as the first qualifiers to play a World Cup game in a country with which they are at war.

And if all that wasn’t bad enough, on Sunday, Iran had a brilliant first-half goal, one that seemingly had given it its first lead of the tournament, erased on a video replay that confirmed the narrowest of offside violations.

The disallowed goal, one of the best any team has scored in this World Cup, came on a set piece in the 25th minute. Iranian captain Ehsan Hajsafi took the free kick from about 35 yards, but instead of going to the goal, he pushed the ball through the Belgium wall to Mehdi Taremi, who took a clean first touch, then put a left-footed ball between Belgian keeper Thibaut Courtois and the left post.

Iranian soccer fans hold a pre-revolutionary Iranian flag following the team’s scoreless draw with Belgium in the World Cup at SoFi Stadium on Sunday.

(Robert Gauthier / Los Angeles Times)

The play caught Belgium completely by surprise, and for one of the few times in this tournament, Iran had reason to cheer. But the celebration was short-lived when referee Dario Herrera took the goal away after a lengthy video review determined Taremi to be offside.

That was the best thing that went right for Belgium in a first half it dominated, only to come up empty. It had an 11-2 edge in shots, completed six times as many passes and controlled the ball for more than 36 of the first 45 minutes. But it couldn’t get the ball past Iranian keeper Alireza Beiranvand.

If the World Cup has been trying for Iran, it’s been frustrating for Belgium, which needed an own goal from Egypt’s Mohamed Hany to escape with a draw in its opener. And a smothering Iranian defense that frequently packed seven players in the box added to that frustration Sunday.

Belgium forward Romelu Lukaku, left, and Iran defender Shojae Khalilzadeh battle for the ball in the second half of a World Cup match at SoFi Stadium on Sunday.

(Robert Gauthier / Los Angeles Times)

That allowed Iran to get the first dangerous chance of the second half — and it also came off a set piece — with Taremi banging a clean volley on target from the center of the box. But Courtois stood his ground and made the save.

The game took a turn in the 62nd minute when Belgium’s Nathan Ngoy mishit a weak backpass, sending Taremi on a breakaway with only Courtois to beat. When Ngoy reached out and grabbed the Iranian by the shirt, pulling him to the ground, he drew a red card, leaving Belgium to play the final half-hour down a man.

Iran clearly deserved a better fate after absorbing wave after wave of a withering Belgium attack without breaking. It also was quicker and far more creative on offense, though it had nothing to show for that.

For Belgium, still looking for its first goal of the tournament, the result was another strain on an aging golden generation of players. If they don’t beat New Zealand in their final group-stage game Friday, they’ll leave the World Cup after the first round for a second straight time.

The Iranian national team finally got to just play soccer.

Their journey to the World Cup has been uniquely fraught, with a war erupting between the host of their matches and their home country.

They had to relocate their base camp from Arizona to Tijuana, struggled to get all of their traveling party into the United States amid visa scrutiny and absorbed President Trump’s suggestion they may not be safe if they chose to play in the World Cup.

Iran forward Mohammad Mohebi (8) heads the ball for a goal during the second half against New Zealand in group play at the World Cup on Monday.

(Ronaldo Bolanos / Los Angeles Times)

With the focus shifted solely to soccer, Iran’s 2-2 draw with New Zealand in front of an announced crowd of 70,108 Monday night at SoFi Stadium may have felt like a victory because of the sheer fight it took for Team Melli to play in Inglewood.

After Belgium and Egypt tied 1-1 earlier Monday, all the teams in Group G are tied at one point apiece.

The All Whites showed no signs they were rattled by the pro-Iran crowd or their standing 65 slots behind Iran in FIFA world rankings.

Iran fell behind twice, but the team rallied to avoid plummeting to the bottom of its group.

A flurry of chances generated by both teams during stoppage time never translated into a winning goal.

New Zealand struck first.

New Zealand forward Elijah Just, right, celebrates after scoring his second goal against Iran on Monday.

(Robert Gauthier / Los Angeles Times)

Elijah Just rumbled toward the box and seemed to pinball around the Iranian defense. He passed to Sarpreet Singh, who chipped the ball to Chris Wood in the box. Wood then chested the ball back to Just, who took one touch before kicking the ball in for New Zealand’s first goal in the seventh minute.

A small but hearty contingent of New Zealand cheered.

After the hydration break, Iran’s Ramin Rezaeian pushed the ball into the box and tapped it to Saman Ghoddos. Shahriyar Moghanlou’s shot was blocked, but Rezaeian was in position to tap the deflection into the far lower left corner of the net in the 32nd minute.

The stadium roared as Mexico fans joined Iran fans cheering and waving flags.

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1. Iran goalkeeper Alireza Beiranvand watches the ball go into the net after a goal by New Zealand forward Elijah Just in the first half. (Allen J. Schaben/Los Angeles Times) 2. Iran defender Milad Mohammadi leaps over a New Zealand defender during the second half. (Kelvin Kuo / Los Angeles Times) 3. New Zealand defender Finn Surman, top, goes after the ball in front of Iran forward Ali Alipour during the second half. (Allen J. Schaben / Los Angeles Times) 4. Iranian soccer team fans show their support during the team’s 2-2 draw with New Zealand. (Kelvin Kuo / Los Angeles Times)

Both teams has chances to break the tie late in the first half.

New Zealand earned a free kick in the 45th minute just outside the box. Wood took a direct shot at the goal, but Iran goalkeeper Alireza Beiranvand gathered it with ease.

During first-half stoppage time, Rezaeian’s free kick was headed home by Ali Nemati, but Nemati was clearly offsides and the goal was waived off by the referees.

In the 54th minute, Iran turned the ball over and Just connected with Just for his second goal of the match.

Iran responded in the 64th minute with Rezaeian’s cross headed home by Mohammad Mohebi, tying the game and delighting fans.

Iran forward Mohammad Mohebi reacts after scoring against New Zealand in the second half Monday.

(Kelvin Kuo / Los Angeles Times)

Before the game, protesters outside SoFi Stadium argued Iran’s oppression regime should be sanctioned for human rights violations and banned from competition. Other Iranian Americans countered they gathered at the venue to cheer on players rather than Iran’s totalitarian leaders.

Iran captain and star striker Mehdi Taremi said before the game he hoped the team that has unified in the face of massive distractions could provide solace during a difficult time.

“We, the players of the national team, we play for every Iranian, be it the Iranian diaspora or be it Iranians in the country,” Taremi said through a FIFA interpreter. “Look, in every country, people have different opinions, but we are here as footballers to unite people, and we will try to bring joy to all Iranians, irrespective of where they live.

“Everyone is entitled to their own opinion, and we respect them, but we are here to bring joy to the Iranian people. We do not get involved in politics. We are here to play football.”

Steven Spielberg’s latest sci-fi thriller, “Disclosure Day,” topped the box office this weekend, an encouraging sign for what could be a big summer for theaters.

The film, which stars Emily Blunt and Josh O’Connor, brought in $44 million in the U.S. and Canada for a worldwide total of $92.9 million, according to studio estimates. The opening weekend totals beat box office analysts’ expectations of about $40 million to $50 million.

“Disclosure Day” is Spielberg’s latest alien-centric movie that charts a desperate race to show the world the truth about extraterrestrials.

The film, which had a production budget of about $115 million, was also scored by legendary composer and longtime Spielberg collaborator John Williams, who is now 94 years old.

Spielberg described the film in April as “way closer to truth than fiction” during a speech at the CinemaCon trade convention in Las Vegas. The veteran director of 1977’s “Close Encounters of the Third Kind,” 1982’s “E.T. the Extra-Terrestrial” and 2005’s “War of the Worlds” said at the time that he’s been curious about “what’s going on in the night” since he was a child and “been very fixated on the possibilities.”

Focus Features’ “Obsession” came in second at the box office with a domestic haul of $19 million, a continuation of the film’s strong run in theaters.

“Scary Movie,” “Backrooms” and “Masters of the Universe” rounded out the top five at the box office.

Recent box office performance — particularly with Gen Z hits “Obsession” and A24’s “Backrooms” — along with a slate of upcoming blockbuster franchise installments has buoyed the hopes of exhibitors and studio executives for a strong summer.

Next week, Walt Disney Co. and Pixar will release “Toy Story 5,” while Warner Bros.’ DC Studios has “Supergirl” landing in late June.

Universal Pictures and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day” are all slated for July.

That steady cadence of new and different films is key for a healthy box office and a successful summer, said Daniel Loria, editorial director at the Box Office Co.

“We’re seeing that momentum come back on a weekend-by-weekend basis,” he said. “What we needed to get back to a healthy industry post-pandemic is consistency, and that’s the difference here in 2026.”

AMC’s plan to launch a new interactive live concert series in theaters is on ice, for now. With a booming box office full of films like “Obsession,” “Backrooms” and “Scary Movie,” the theater chain has postponed the concert project until later this year.

In a statement, AMC said due to the “robust lineup of upcoming films and strong advance ticket sales in the weeks ahead,” it needed to make some programming adjustments. Some of the major upcoming releases for June include Disney’s “Toy Story 5” and Steven Spielberg’s “Disclosure Day.”

Acts like Bebe Rexha, Paris Hilton, Kim Petras and Marren Morris were lined up to test out the new format next week, as a part of the Girls Night Live concert series.

The chain is partnering with live entertainment company Arena One to bring new technology to theaters. This tech would allow artists on a remote stage to see, hear and respond to the theater audience, in effect turning your local cinema into a stadium, the companies said. Fans who already purchased tickets have received refunds.

The series was initially marketed as a new draw to get customers to the theaters, but given the strong box office numbers so far this year, it’s clear the demand for theaters is already growing

Focus Features’ “Obsession” is now nearing $230 million in global box office revenue, according to Box Office Mojo, and is the studio’s highest-grossing movie at the domestic box office.

Similarly, A24’s “Backrooms” is the indie studio’s highest-grossing movie at the domestic box office, with nearly $140 million. It pulled in $100 million at the box office only six days after its initial release.

Most recently, “Scary Movie” topped the box office last weekend with a $105.5-million worldwide debut, ranking among the top five biggest R-rated comedy openings of all time.

AMC said it would announce new dates and additional artists for the interactive concert series in the coming months.

With the Wayans brothers firmly back in the driver’s seat, horror parody “Scary Movie” muscled its way past He-Man for the top spot at the box office this weekend.

The reboot of the 2000s-era franchise — or “rebootiquel,” as the movie calls itself — brought in $55 million in the U.S. and Canada for a worldwide total of $105.5 million, according to studio estimates. The movie, which had a production budget of $30 million, beat studio expectations and marks the return of the Wayans brothers to “Scary Movie.”

The franchise was developed by Marlon Wayans, Shawn Wayans and Keenen Ivory Wayans. But after 2001’s “Scary Movie 2,” the Wayans got in a pay dispute with former Miramax executives Bob and Harvey Weinstein. The Wayans have said the Weinsteins did not tell them that 2003’s “Scary Movie 3” would be made without them. The franchise then continued with fourth and fifth installments.

After former MGM film executive Jonathan Glickman was named chief executive of Miramax in 2024, he reached out to Marlon Wayans to see if he’d be interested in reviving “Scary Movie.”

“Always dreamt of having this moment again,” Wayans said, while thanking Glickman and executive producer Marc Weinstock during a short speech at the movie’s premiere. “I thank you guys for having the vision to go, there’s only one way to do the next ‘Scary Movie,’ and that’s to bring the Wayans family back.”

Miramax led the production and financing of the film, while Paramount Pictures was the distributor.

Amazon MGM Studios’ “Masters of the Universe” came in second at the domestic box office with $29.3 million, in Mattel Studios’ first film in theaters since the 2023 smash hit “Barbie.” Globally, the movie made $54 million.

The action adventure movie had a production budget of about $170 million and aimed to reintroduce the ‘80s-era action hero “He-Man” to a new audience, while also driving the nostalgia of adults who played with the franchise toys or watched the original film and series. The movie is part of Mattel Inc.’s strategy to continue extending its toy brands into the entertainment arena.

Mattel Chief Executive Ynon Kreiz said last week that “Masters of the Universe” didn’t need to match the success of “Barbie” “to have a meaningful economic impact on the company.”

A24’s runaway hit “Backrooms” came in third at the box office this weekend, continuing its strong performance with a haul of $25.9 million. Focus Features’ “Obsession” ($25.6 million) and another YouTube-native property, “The Amazing Digital Circus: The Last Act,” ($12.7 million) rounded out the top five at the box office, according to Comscore data.

ROCKER Ronnie Wood has got satisfaction on his birthday today – after being surprised with a classic red phone box from his wife.

The Rolling Stones legend was gifted the timeless telephone booth by his honky tonk woman Sally Humphreys to mark his 79th birthday.

The original British Telecom K6 phone box, costing some £5,000, did the moonlight mile as it was delivered to his country estate in Little Gaddesden, Herts.

The fixture means the former hard-partying icon won’t be going off the hook anymore.

Wood married his current wife, theatre producer Sally, 48, in 2012 and welcomed their twin daughters just four years later.

Speaking to Hello! Magazine he said: “Any time I’m with her and the girls, that’s the best for me, nothing tops it.

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“When the twins come into our bed and we’re all snuggled up together, that, for me, is wonderful. My idea of heaven.

“It’s special. The girls are so cuddly and gorgeous. I’m a lucky man.”

A source said Ronnie is celebrating his birthday at his holiday home in Barcelona.

Internet culture is showing up in a big way in theaters, as low-budget horror films “Backrooms” and “Obsession” led this weekend’s box office and beat out big franchise films like “Star Wars: The Mandalorian and Grogu.”

A24’s “Backrooms” topped the charts with $81.5 million in the U.S. and Canada in its opening weekend, according to studio estimates. The film is directed by 20-year-old YouTuber Kane Parsons, who based it on his internet series of the same name.

“Backrooms,” which reportedly had a production budget of about $10 million, stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement. The film made a total of $118 million worldwide.

In second place was Focus Features’ “Obsession,” which hauled in $26.4 million in its third weekend in theaters, up 10% from the previous weekend’s total. The film, which had a production budget of less than $1 million, has now grossed $104.7 million domestically for a global total of $148 million.

“Obsession” director Curry Barker is also known for his YouTube sketch comedy channel.

The success of two YouTube-native filmmakers at the box office indicates the growing power of the platform — and online culture as a whole — in attracting audiences to cinemas.

Walt Disney Co. and Lucasfilm’s “The Mandalorian and Grogu” fell to third place this weekend with a domestic gross of $25 million. Lionsgate’s musical biopic “Michael” ($11.7 million) and Sony Pictures’ family comedy “The Breadwinner” ($7.5 million) rounded out the top five at the box office, according to Comscore data.

It was the summer of 1949 when a 22-year-old, newly hired Milwaukee photojournalist was assigned to take portraits of an unknown 23-year-old actor passing through town on a publicity tour. John Ahlhauser spent 30 minutes capturing seven photos of the up-and-coming starlet. One was published in the Milwaukee Journal Sentinel and Ahlhauser took the other six home.

That unknown actor was Marilyn Monroe (although her legal name was still Norma Jeane Mortenson).

To celebrate Monroe’s 100th birthday on June 1, five photos from the shoot are being auctioned off through proxy bidding until Tuesday morning, when the live auction will occur. The photos were shot as part of a promotion for Monroe’s brief role in the Marx brothers’ final feature together, “Love Happy.” According to Ahlhauser’s daughter, Mame O’Meara, these pictures represent an unguarded and unedited version of the celebrity.

“When we took it to ‘Antiques Roadshow’ — which it did not get on at that moment — they said these are before she got her nose job, before she went platinum, and that she had developed a look in her eye in January of 1950 that really kept you out of her personal space,” O’Meara said. “They describe these seven little pictures as windows into her soul.”

The Milwaukee Journal Sentinel ran one photo in 1949 and a second image was used in Gloria Steinem’s 1988 book, “Marilyn: Norma Jeane.” In 2011, all of Ahlhauser’s work was placed in a trust, including his photos of Monroe.

Monroe’s estate was controlled by Anna Strasberg, the second wife of Monroe’s acting coach and close friend, Lee Strasberg, since his death in 1982. O’Meara explained that the family waited to release Ahlahauser’s photos of Monroe because of the “contention” over Anna Strasberg’s ownership of Monroe’s image. Strasberg died in 2024.

“Strasberg was fighting in court for all of the images of Marilyn, and we put these in a trust and actually worked to keep them quiet at that time,” O’Meara explained.

When Ahlhauser died in March 2016, O’Meara and her five siblings inherited hundreds of their father’s yellow Kodak photo boxes. Inside the boxes were his photos of Monroe, organized with the “sleeve dated and with the assignment on the outside.”

“I wanted to touch absolutely everything in the boxes,” O’Meara said. “[My siblings] were both gracious, and none of them wanted to, and so I have had the privilege the last six years of going through every print he ever made, and I’m just working on the negatives now.”

However, O’Meara and her siblings aren’t entirely ready to let go of Monroe yet. While they’ll be auctioning off five of the photos, they’re planning to keep two.

“We’re selling these five, and people can take the copyright and put them on coffee mugs, or make an AI movie, or whatever they want to do with them,” O’Meara said, laughing. “We’ll just keep the two really nice ones that he was so proud of. We’ll keep those in his collection, and we can sell prints if we feel like it.”

While Ahlhauser’s photo of Monroe may become his most iconic image, the session didn’t feel like a particularly notable event in his career. It wasn’t as impactful as when he photographed the 1968 Democratic National Convention in Chicago or civil rights marches in 1960s Mississippi. But for O’Meara, that’s where the beauty of these photos lies.

“They are both really nobodies; they’re both people doing a job,” O’Meara said. “And yet, when I look at those pictures, I think they both had to really allow themselves to let the camera find the vulnerability, and that to me is the art in it.”

SAN DIEGO — The crack of the bat reverberated throughout Petco Park. The crowd let out a collective, “Oh.” And Shohei Ohtani started his trot around the bases.

Padres center fielder Jackson Merrill made a valiant effort to bring back the home run. But after leaping and stretching his entire torso over the top of the wall, the ball fell just out of his reach.

Ohtani, hitting while pitching for the first time in almost four weeks, had homered on the first pitch of the game.

Manager Dave Roberts has held Ohtani out of the batting order for each of his last three starts on the mound, in what’s become a start-by-start decision. But Wednesday, he handled pitching and hitting duties, with immediate positive feedback.

“Obviously it’s a big series, and with the way he’s swinging the bat, I feel it gives us the best chance to win,” Roberts said before the game. “And last week, giving him a couple days off to reset, I thought that was beneficial. We’re on the heels of an off day [Thursday]. So I think all that in total, it just made sense to have him hit today.”

Roberts has also witnessed a “recharged” Ohtani on this trip, as evident on the basepaths and in the batter’s box.

Roberts and Ohtani differ in how much they credit his offensive turnaround to the two-day break from hitting that Roberts gave the two-way phenom last week, versus the progress he was already showing. But Ohtani entered Wednesday with four doubles and 10 hits total in five games against the Angels and Padres.

“I think he’s getting there,” Roberts said before the game. “I wouldn’t say he’s back; I think he’s getting there.”