brings

The city witnessed Carl Lewis win four Olympic gold medals, cheered Valerie Brisco-Hooks’ historic golden double and watched Edwin Moses extend his 400-meter hurdles unbeaten streak. L.A. has history with track and field.

Now when Ato Boldon, a UCLA Hall of Famer and four-time Olympic medalist for Trinidad and Tobago, looks to this weekend’s L.A. Grand Prix and the city’s future with the sport, he wonders what it holds.

“I’ve always felt like L.A. needs a signature event,” Boldon said, “and with the Olympics coming up in two years, you look at the quality of this event this weekend, and you’re like, yeah, this is the kind of meet they should have all the time.”

At the halfway mark of the Olympic quadrennium, the USA Track & Field event serves as an important checkpoint for the sport’s hope to break out of the four-year popularity cycle.

The two-day event, which begins Saturday with the women’s hammer throw at the South Bay Athletic Club, features 18 Olympic or world champions competing primarily at USC’s Allyson Felix Field. Sunday’s marquee competition beginning at 1 p.m. will be televised on NBC.

With USA Track & Field building toward a home Olympics, L.A. has been a critical but stubborn market to conquer. Last year’s L.A. Grand Prix, which would have been the third edition of the meet, was canceled in April. The decision, USA Track & Field Chief Executive Max Siegel said, came down to another meet scheduled in the same venue within the same month.

But that competing event, part of Michael Johnson’s upstart Grand Slam Track league, was canceled only weeks before it was set to take place at UCLA’s Drake Stadium, leaving L.A. without a major track competition last summer.

“We knew last year when we canceled the meet that we had every intention leading up to the Olympics to be present in the L.A. market,” Siegel said.

The city knows great track. UCLA boasts legends such as Rafer Johnson, Jackie Joyner-Kersee and Florence Griffith-Joyner. USC, which boasts more Olympians than any other U.S. university, had athletes win nine Olympic medals in track and field at the 2024 Games in Paris, including double gold medals for Rai Benjamin in the 400-meter hurdles and 4×400-meter relay and a 4×100-meter relay championship for TeeTee Terry.

After Terry ran the second leg of the relay, Sha’Carri Richardson’s stare down at the end of her anchor leg became one of the iconic shots of the Paris Games, where 70,000 people packed Stade de France and millions more tuned in for one of the most-watched Olympics.

But the sport is back in the shadows like it always seems to be outside of Olympic years, said Boldon, now NBC Sports’ track and field analyst. There have been several attempts to penetrate the U.S. sports consciousness since the successful Paris Games. Reddit co-founder Alexis Ohanian launched Athlos, a women’s track and field meet that began in New York City in 2024 and added a stop in London to its 2026 schedule. Grand Slam Track, founded by the Olympic legend Johnson and touting major names including Gabby Thomas and Sydney McLaughlin-Levrone, filed for bankruptcy last year, after completing only three of four planned events in its first season, and is only now emerging from it.

This year’s inaugural USATF Tour aims to organize the fragmented sport by streamlining the calendar and working with existing event coordinators to provide resources, including prize money and travel for top athletes, marketing and drug testing. The tour, which was in College Station, Texas, last week for the Lone Star Grand Prix, has 17 events in 10 states.

American Tara Davis-Woodhall after winning the women’s long jump at the 2025 world championships in Tokyo.

(Ashley Landis / Associated Press)

“I feel like LA28 gives the country something to organize around,” said Siegel, who hopes track and field can rise to be among the five most popular sports in the United States. “People are paying more attention to athlete stories in anticipation of what’s going to happen on U.S. soil.”

There is no shortage of stories at the L.A. Grand Prix. Almost everyone who matters in American track and field will be there, Boldon said. Kenny Bednarek, the silver medalist in the 200 meters in Paris, will line up in the 100 meters against Botswana’s Letsile Tebogo, who took gold in the 200 in 2024.

Tara Davis-Woodhall, the reigning Olympic long jump champion, will compete in her signature event and race in the 100-meter hurdles for just the second time in the last five years. Her husband, Hunter Woodhall, will race in the 400 meters on Saturday, when Para athletes will be among those competing in the L.A. Distance Classic at Allyson Felix Field.

Richardson will run her first 100-meter race of the season. The 2024 Olympic silver medalist could be in line to end a three-decade gold medal drought in 2028. No U.S. woman has stood atop an Olympic podium for the 100 since 1996, when Gail Devers won in Atlanta.

Such a stacked field outside of an Olympic year on U.S. soil could be a sign of a changing tide for track and field, Boldon said. The L.A. Grand Prix is a gold-level event on the World Athletics Continental Tour, the second-highest tier of single-day international competition. As athletes vie for world ranking points, the event could be a true Olympic preview two years before the Games begin at the Coliseum.

“This,” Boldon said, “is not a normal week in our sport.”

Mexico wins World Cup opener

From Eduard Cauich: FIFA president Gianni Infantino described Mexico City Stadium as a venue “blessed by the gods” and a “true cathedral of soccer.”

Azteca Stadium, as most people know it, is steeped in soccer history and is now the only venue to host three World Cup opening ceremonies. But the Mexican national team had never much World Cup success at the venue.

On Thursday, spurred on by most of the 80,824 fans in attendance and forwards Julián Quiñones and Raúl Jiménez, Mexico managed to defeat South Africa 2-0 and securing its first opening match victory.

Mexico opened the scoring in the ninth minute when Quiñones capitalized on a defensive error by South Africa and fired a shot down the middle, between the legs of goalkeeper Ronwen Williams. The striker, a top scorer in the Saudi Pro League, immediately ran off to celebrate with the bench, marking the first goal of the tournament. The crowd responded by throwing beer into the air.

Mexico continued to press with numerous chances in the first half, including another shot by Quiñones that hit the post and another great save by Williams, who was South Africa’s best player.

“We were far superior in the first half; we could have been up 3-0,” Mexico coach Javier Aguirre said.

Continue reading here

U.S. vs. Paraguay: Breaking down the challenges in World Cup opener

FIFA World Cup Day 1: Live updates, TV schedule, players to watch and group previews

Click here for complete TV schedule, groups and players to watch

Today’s World Cup TV schedule

Noon, Canada vs. Bosnia-Herzegovina, Fox, Telemundo
6 p.m. U.S. vs. Paraguay, Fox, Telemundo

Saturday’s World Cup TV schedule

Noon, Qatar vs. Switzerland, Fox, Telemundo
3 p.m., Brazil vs. Morocco, FS1, Telemundo
6 p.m., Haiti vs. Scotland, FS1, Telemundo
9 p.m., Australia vs. Turkey, FS1, Telemundo

Sunday’s World Cup TV schedule

10 a.m. Germany vs. Curacao, Fox, Telemundo
1 p.m. Netherlands vs. Japan, Fox, Telemundo
4 p.m. Ivory Coast vs. Ecuador, FS1, Telemundo
7 p.m. Sweden vs. Tunisia, FS1, Telemundo

Ohtani hurts knee in Dodgers’ victory

From Maddie Lee: The Dodgers couldn’t have asked for better timing, as Shohei Ohtani’s leadoff spot came back around.

In a game the Dodgers would go on to win 8-6 over the Pirates, they were clinging to a two-run lead in the top of the seventh inning against the Pirates on Thursday. With one out and runners on first and second, the Dodgers superstar, who had already reached base four times, was due up.

Instead, Santiago Espinal stepped up to the plate as a pinch-hitter.

Ohtani left the game with inflammation in his left knee, the Dodgers announced.

“Just wanted to be smart and not push it,” manager Dave Roberts said. “So I feel good about him being in there [Friday]. But obviously with the travel [to Chicago Wednesday night], we’ll just kind of see how he comes in.”

Roberts described the injury as “discomfort” at the back of Ohtani’s knee, around where the hamstring attaches. Though Ohtani underwent surgery on the same knee in 2019, that was to address bipartite patella, on the other side of the knee.

Continue reading here

How the Dodgers plan to shuffle catchers with Will Smith on the injured list

Dodgers box score

MLB standings

Rams cancel minicamp

From Gary Klein: Unless they are in Maui, as they were last year, Rams coach Sean McVay annually opts to cancel mandatory minicamps after the initial report day.

This year, McVay avoided any pretense of suspense.

On Thursday, he announced to his players that after fulfilling some broadcast media responsibilities on Monday, they would not have a minicamp and break until they report to training camp at Loyola Marymount in late July, a Rams official said.

McVay’s announcement came about a week after San Francisco 49ers coach Kyle Shanahan canceled minicamp, and Seattle Seahawks coach Mike Macdonald did the same.

The Rams play the 49ers in their Sept. 10 season opener in Melbourne, Australia.

Continue reading here

Stanley Cup Final Game 5

Andrei Svechnikov scored twice and Sebastian Aho added a second-period goal in a breakout game for Carolina’s top-line performers, helping the Hurricanes beat the Vegas Golden Knights 4-2 on Thursday night to move one victory away from the Stanley Cup.

Captain Jordan Staal added his fifth goal in the series on a night when Carolina overcame multiple hiccups from these playoffs, from a shaky power play to being outplayed in the second period of this series.

And there had been the waiting game for Aho and Svechnikov — two roster mainstays in an eight-year postseason run — to find a better offensive groove.

Continue reading here

Game 5 summary

This day in sports history

1920 — Man o’ War wins the Belmont Stakes, which was run at 1 3/8-miles, in 2:14 1/5. He shatters the world record by 3 1/5 seconds and sets the American dirt-course record for that distance.

1930 — Max Schmeling beats Jack Sharkey on a fourth-round foul for the vacant heavyweight title in New York. Schmeling becomes the first German — and European — heavyweight world champion.

1939 — Byron Nelson wins the U.S. Open in a three-way playoff with Craig Wood and Denny Shute.

1948 — Citation, ridden by Eddie Arcaro, wins the Belmont Stakes and the Triple Crown with an eight-length victory over Better Self. It’s Arcaro’s second Triple Crown. He rode Whirlaway in 1941.

1948 — Ben Hogan wins the U.S. Open with a record 276, five fewer than Ralph Guldahl’s 1937 record.

1954 — Milwaukee Braves spot starting pitcher Jim Wilson throws first no-hitter in history of County Stadium when he blanks Philadelphia Phillies, 2-0.

1979 — Bobby Orr becomes the youngest player in NHL history to be selected for the Hockey Hall of Fame. The 31-year-old is inducted months after officially ending his NHL career as the Hall waives its usual three-year waiting period.

1981 — Larry Holmes stops Leon Spinks in the third round for the WBC heavyweight title in Detroit.

1983 — Patty Sheehan wins the LPGA championship by two strokes over Sandra Haynie.

1984 — 38th NBA Championship: Boston Celtics beat Lakers, 4 games to 3, to win the championship title.

1990 — Egypt, a 500-1 shot, stuns the Netherlands when Magdi Abdel-Ghani makes a penalty kick with eight minutes remaining to tie the World Cup favorites 1-1.

1991 — The Chicago Bulls win the first NBA championship in the team’s 25-year history with a 108-101 victory in Game 5 over the Lakers. MVP Michael Jordan scores 30 points, Scottie Pippen has 32 and John Paxson 20.

2002 — NBA Finals: Lakers beat New Jersey Nets, 113-107 for a 4-0 sweep and 3rd straight title; MVP: Shaquille O’Neal for 3rd consecutive Finals series.

2005 — Annika Sorenstam closes with a 1-over 73 for a three-shot victory over Michelle Wie in the LPGA Championship. The 15-year-old Wie shoots a 69 to finish second. It’s the highest finish by an amateur in a major since 20-year-old Jenny Chuasiriporn lost a playoff to Se Ri Pak in the 1998 U.S. Women’s Open.

2008 — The Boston Celtics overcome a 24-point deficit and beat the Lakers 97-91 to take a commanding 3-1 lead in the NBA finals. No team has ever overcome more than a 15-point deficit after the first quarter, and the Celtics post the biggest comeback in the finals since 1971.

2009 — Pittsburgh’s Max Talbot scores two second-period goals as the Penguins beat the defending champion Detroit Red Wings 2-1 in Game 7 and win the Stanley Cup at Detroit’s Joe Louis Arena.

2011 — The Dallas Mavericks win their first NBA title by winning Game 6 of the finals in Miami, 105-95. Jason Terry scores 27 points and Dirk Nowitzki adds 21 as the Mavericks win four of the series’ last five games.

2013 — Andrew Shaw scores on a deflection in triple overtime to lift the Chicago Blackhawks to a 4-3 victory over the Boston Bruins in a riveting Game 1 of the Stanley Cup finals. The Blackhawks gets third-period goals from Dave Bolland and Oduya to erase a 3-1 deficit.

2016 — Sidney Crosby sets up Kris Letang’s go-ahead goal midway through the second period and the Pittsburgh Penguins win the fourth Stanley Cup in franchise history by beating the San Jose Sharks 3-1 in Game 6 of the Stanley Cup final.

2017 — Kevin Durant caps his spectacular first season with the Warriors by bringing home an NBA championship. Durant, who joined Golden State last July, scores 39 points in a finals-clinching 129-120 victory over LeBron James and the Cleveland Cavaliers.

2019 — Stanley Cup Final, TD Garden, Boston, MA: St. Louis Blues beat Boston Bruins, 4-1 for a 4-3 series victory; first title in franchise history.

2021 — Danish soccer midfielder Christian Eriksen suffers an on-field cardiac arrest during a Euro 2020 match with Finland in Copenhagen. Eriksen is revived with a defibrillator and the game controversially continues with a 1-0 Finland win.

2023 — NBA Finals: Denver Nuggets beat Miami Heat 94-89 to win the franchise’s first Championship; clinch series 4-1; MVP: Denver C Nikola Jokić.

Compiled by the Associated Press

This day in baseball history

1922 — Hub Pruett struck out Babe Ruth three consecutive times, and the St. Louis Browns beat the New York Yankees 7-1.

1928 — Lou Gehrig of the New York Yankees had two triples and two homers in a 15-7 victory over the Chicago White Sox.

1939 — The Baseball Hall of Fame was dedicated at Cooperstown, N.Y.

1954 — Milwaukee’s Jim Wilson pitched the year’s only no-hitter, blanking the Philadelphia Phillies 2-0.

1957 — Stan Musial of the St. Louis Cardinals broke the National League record for endurance when he played in his 823rd consecutive game. The previous mark was established in 1937 by Pirates first baseman Gus Suhr.

1959 — The San Francisco Giant’s Mike McCormick tossed a 3-0, five-inning no-hitter against the Philadelphia Phillies. Richie Ashburn singled in the top of the sixth for the Phillies, but the hit didn’t count because the game was stopped by rain.

1962 — In Milwaukee’s 15-2 rout of the Dodgers at County Stadium, the Aaron brothers both homer in the same game with Tommie connecting in the bottom of the eighth after his older brother Hank had hit one out in the second.

1970 — Dock Ellis of the Pittsburgh Pirates hurled a 2-0 no-hitter in the first game of a doubleheader against the San Diego Padres. Ellis walked eight and hit a batter, and Willie Stargell hit two homers.

1981 — Thirteen games were canceled due to the players’ strike.

1997 — After 126 years, baseball broke its tradition and played interleague games. The San Francisco Giants beat the Texas Rangers 4-3.

1999 — Cal Ripken went 6-for-6, homering twice and driving in six runs as the Baltimore Orioles scored the most runs in franchise history with a 22-1 rout of the Atlanta Braves.

2006 — Jason Grimsley was suspended 50 games by Major League Baseball, less than a week after federal agents raided his home during an investigation into performance-enhancing drugs.

2007 — Justin Verlander pitched a no-hitter to lead the Detroit Tigers over the Milwaukee Brewers 4-0. Verlander struck out a career-high 12, walked four and benefited from several stellar defensive plays.

2009 — Chicago right fielder Milton Bradley had a bad day at Wrigley Field. Bradley lost Jason Kubel’s pop-up in the sun for a single, couldn’t catch Michael Cuddyer’s RBI bloop double, made a baserunning blunder and, most egregiously, flipped the ball into the stands after catching Mauer’s one-out sac fly.

2009 — New York Mets second baseman Luis Castillo dropped Alex Rodriguez’s lazy popup with two out in the ninth inning as two runs scored, helping the Yankees escape with a wild 9-8 victory over the Mets.

2010 — Daniel Nava hit the first pitch he saw as a big leaguer for a grand slam — only the second player to do it — leading the Boston Red Sox to a 10-2 rout of the Philadelphia Phillies. Nava connected on a fastball from Joe Blanton in the second inning. Kevin Kouzmanoff hit a slam on the first pitch he saw Sept. 2, 2006, for Cleveland against Texas.

2011 — Realignment is on the table again as Major League Baseball and the Major League Baseball Players Association are in discussions to renew the collective bargaining agreement, which expires on December 11th. One of the options being discussed would see one team moving from the National League to the American League to create two 15-team leagues, with the Houston Astros the likeliest candidate for a move.

2012 — Alex Rodriguez ties Lou Gehrig’s record by hitting his 23rd career grand slam.

2016 — Sam Cohen put UC Santa Barbara into its first College World Series with a pinch-hit grand slam in the bottom of the ninth inning for a 4-3 victory over second-seeded Louisville 4-3 in the Super Regionals.

2017 — Royce Lewis, a high school shortstop from California, is selected first overall by the Minnesota Twins in the 2017 amateur draft.

2018 — Tigers 1B Miguel Cabrera suffers a season-ending injury when he tears a biceps tendon while swinging at pitch in the third inning of a game against the Twins. He had already missed all but one game of May with a hamstring injury.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

In many ways, the most ambitious World Cup in history — which kicked off Thursday in Mexico City — has inspired more angst than anticipation, more fear than fervor.

The competition, returning to North America for the first time in more than three decades, has expanded to 48 teams and 104 matches, to be played over 39 days in 16 cities in the U.S., Mexico and Canada. The complex planning was eight years in the making.

Yet even before the competition opened with Mexico facing South Africa at the iconic Estadio Azteca, it has been marred by a number of controversies that threaten to overshadow the soccer and cloud the tournament’s legacy.

“I view this World Cup as the most politically combustible World Cup in recent history. And that’s saying something,” said Jules Boykoff, a political science professor at the University of Portland and author of eight books on the politics of international sport.

“We’re in uncharted territory in many ways.”

Relations between the host countries, once strong, have been strained by the Trump administration’s tariff policies and disagreements over border security. Travel bans have barred potential World Cup visitors — and even support staff and match officials — from entering the U.S. and others are fearful of making the trip, worried about ICE raids and immigration roundups.

The U.S. is at war with a tournament qualifier, Iran. And Iran has fired missiles and drones on Jordan, Qatar and Saudi Arabia, nations that also are World Cup participants.

The International Sports Press Assn. said Iranian and African journalists have been denied visas to cover games in the U.S., and Iran protested after more than a dozen members of its support staff had their requests to enter the U.S. rejected. The Iranians, who were forced to move their training base from Tucson to Tijuana, will spend limited time in the U.S. during group-play games that will take place in Inglewood and Seattle.

Players and journalists from Senegal, Uzbekistan and Iraq have been detained at U.S. airports for up to seven hours by immigration officials. Then on Monday, Omar Artan, a decorated referee and the first Somali official selected to work a World Cup, was turned away at Miami International Airport.

In addition, ticket prices have been so high and the lottery process for obtaining them so opaque, the attorneys general of New York and New Jersey have begun formal investigations into FIFA practices. Other states, including California, hosting tournament matches have begun asking questions as well.

All that has conspired to produce a World Cup that is struggling to catch on with the public. According to a recent poll by Yougov.com, a majority of Americans — 54% — say they are not at all interested in the tournament and nearly six in 10 say they will not watch any matches.

“People are just in a bad mood,” Boykoff said. “It’s a tough time.”

FIFA president Gianni Infantino remains optimistic, promising this will be “the biggest, the most inclusive, the greatest FIFA World Cup ever.” He made the same claim about the 2022 World Cup in Qatar and the 2018 tournament in Russia.

FIFA president Gianni Infantino speaks during a news conference on Wednesday before the start of the World Cup.

(Carl Recine / Getty Images)

“The World Cup should be understood as both a global sporting celebration and a major commercial enterprise, with these two dimensions being mutually enforcing rather than contradictory,” said Steve Georgakis, a lecturer on sports studies at the University of Sydney and a frequent author on soccer.

This year’s tournament is projected to swell FIFA’s coffers by nearly $9 billion and the TV ratings, it says, will be massive.

“Its universal appeal combined with the participation of 48 nations ensures that it remains a genuinely global sporting event,” Georgakis said.

Boykoff has his doubts.

“In this particular political moment, with the Trump administration being erratic and impulsive and needing a win from this tournament and the fact there’s so many moving parts geopolitically, I don’t have confidence that it’s just going to end up being a soccer-focused next five weeks,” he said.

This is not the first World Cup to kick off under some kind of black cloud.

The 1974 tournament in West Germany was tarred by the geopolitical fallout of the 1973 Yom Kippur War. Four years later Argentina’s military dictatorship used the World Cup to sportswash a “Dirty War” in which as many as 30,000 people were tortured, murdered and disappeared.

The 2010 and 2014 World Cups were troubled by cost overruns and delays in the construction of stadiums and other infrastructure and the threat of labor unrest while global outrage over human rights violations and discrimination against women and LGBTQ people hung over the last two tournaments.

Those issues never fully disappeared but were overshadowed by the brilliance of the soccer. Jonathan Wilson, a columnist with the Guardian and author of “The Power and the Glory: The History of the World Cup,” expects the same this summer.

“The other stuff will still be there in the background,” he said, “but fundamentally the football will, for the vast majority of people, take over. It’s just sort of a natural cycle.”

Argentina star Lionel Messi controls the ball during an international friendly against Iceland on Tuesday.

(Butch Dill / Associated Press)

And as with every World Cup, there undoubtedly will be unforgettable moments.

Argentina’s Lionel Messi and Portugal’s Cristiano Ronaldo, the top scorers in soccer history, will be playing in their sixth and final World Cups — Messi chasing a second straight title and Ronaldo pursuing the only prize that has eluded him.

Kylian Mbabbe will be trying to take France to a third consecutive final while young superstars like Erling Haaland of Norway and Lamine Yamal of Spain will be looking to put their mark on their first World Cups.

Four teams — Jordan, Curacao, Cape Verde and Uzbekistan — have qualified for the tournament for the first time.

And there will be other storylines no one saw coming, all of which will contribute to the narrative of this World Cup.

“Major sporting events have a way of capturing public attention and shifting the conversation toward what is happening on the field rather than off it,” Georgakis said.

How much the actions of the Trump administration affect that calculation remains to be seen.

There are travel restrictions in place that fully or partially bar citizens from 39 countries — including a number of World Cup participants — from entering the U.S. And the administration has said ICE and Homeland Security personnel will have a visible presence at World Cup venues, including SoFi Stadium in Inglewood, where the American team will begin play Friday.

“There will be federal agents,” confirmed L.A. County Sheriff Robert Luna, who added that he could not guarantee immigration sweeps would not take place. “ They told us that specifically would not be occurring,” he said. “Any of that’s subject to change.”

Mexico fans celebrate during a watch party at Plaza Mexico in Lynwood on Thursday.

(Kayla Bartkowski / Los Angeles Times)

The difficulty in obtaining visas and the fear of being rounded up by immigration agents are being blamed, in part, for less-than-expected tourist traffic. Hotel operators in all 11 World Cup host cities say bookings for the tournament are well below projections. Several countries have issued warnings about travel to the U.S.

Then there are the own goals from FIFA over tickets and parking prices as high as $900 at some stadiums, weather issues and a short-lived ban on water bottles.

FIFA has defended its policies on ticket prices by arguing that premiums are necessary to maximize revenue, which it will invest in global soccer development. Variable, market-based pricing, it said, simply reflects standard entertainment practices in North America. The organization did, however, reverse its ban on fans bringing bottles into games. Spectators are now allowed to enter stadiums with one soft, plastic 20-ounce water bottle.

And despite a warning from climate scientists that one in four World Cup games could be played in dangerously hot conditions, FIFA will start 40 of them at 3 p.m. or earlier local time, the warmest time of day, to accommodate European TV viewers.

Georgakis said the play on the field will have to overcome all those issues if this World Cup is to earn a favorable place in history.

“Ultimately the success of the World Cup will be judged by what happens on the field,” he said. “If the football is compelling, dramatic and memorable, the tournament will likely be remembered as a great World Cup. If the play falls short, then the off-field issues such as ticket prices, extreme heat, ICE enforcement activities, the Trump administration will receive great attention and could shape perceptions of the event.”

“Hell’s Kitchen,” the Alicia Keys musical that has landed at the Hollywood Pantages Theatre in a blaze of rousing sound, deploys the R&B star’s glorious treasure trove of work in the service of a semi-autobiographical version of her coming-of-age story in the Manhattan neighborhood that gives the show its title.

The Hell’s Kitchen of Alicia Keys’ story, set in the 1990s, isn’t the gang-ridden Hell’s Kitchen of West Side Story, set in the 1950s. Keys grew up in Manhattan Plaza, a federally subsidized residential complex that provides affordable housing for artists. But for a teenager in rebellion from her watchful mother, the vibrant, music-filled street life comes with its share of dangers.

Kennedy Caughell as Jersey and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Ali (Maya Drake, who’s making her professional debut in this North American tour production) is a 17-year-old ready to break out of the cage her mother, Jersey (Kennedy Caughell), has placed her in. Jersey, a single mom, isn’t a tyrant. She just doesn’t want to see her daughter make the same mistakes that she did, namely get pregnant at a young age before she’s had a chance to realize her own dreams.

The book by playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) is structured around a loving but combustible mother-daughter relationship amid the creative ferment of New York. This artistic neverland is crystallized in the apartment building that has music pouring out of every floor when Ali rides the elevator.

Maya Drake as Ali and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

The story isn’t the strong suit of “Hell’s Kitchen,” which is powered by Alicia Keys’ versatile catalog, which has been supplemented with original material. The hits — “You Don’t Know My Name,” “Girl on Fire,” “Fallin’,” “If I Ain’t Got You,” “Like You’ll Never See Me Again,” “No One” and “Empire State of Mind,” among them — reverberate inside the Pantages with a thrilling exuberance.

What’s most impressive, however, is the way these tracks have been arranged both musically and dramatically. Jukebox musicals are notorious for shoe-horning in beloved songs without regard for storytelling integrity. “Mamma Mia!,” which crammed in as many ABBA hits as possible, hardly even bothered to find pretext for their inclusion. The lucrative example paved the way for more than two decades of musical theater shamelessness.

The company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

“Hell’s Kitchen,” directed by Michael Greif, takes a more dignified approach, raiding Keys’ greatest hits in a way that doesn’t cause dramatic offense and better yet, adds a layer of surprise to music that is so well known.

The songs are allocated in unexpected ways. Numbers that you might think belong to Ali are divided among the company. Jersey is first in line, and Caughell makes the most of her opportunities. But sharing in the bounty are Davis (Desmond Sean Ellington), Ali’s mostly absent and chronically unreliable father; Knuck (Jonavery Worrell), Ali’s forbidden love interest; or Miss Liza Jane (Roz White), a pianist who lives in the building and becomes Ali’s formidable mentor.

There are other characters who offer luminous assistance, but these are the principals in a musical tale built around Ali’s central relationships. Keys’ origin story is more dynamic on an atmospheric than dramatic level. A mother having difficulty with her boy-crazy teenage daughter isn’t exactly breaking any ground, and Diaz avoids venturing into more turbulent territory. Ali’s divided identity, stemming in part from an all-too-present white mother and all-too-missing Black father, sets up issues that are touched on but never deeply engaged.

Desmond Sean Ellington as Davis and Kennedy Caughell as Jersey and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Miss Liza Jane spots Ali’s musical gift right away and fills her with a sense of pride and responsibility in her Black heritage. But her character’s role is somewhat earnestly compartmentalized. Knuck recognizes that Ali’s fascination with him stems in part from the way she sees him, much as her mother does, as a “thug.” But their tentative affair is secondary to the complex bond between Ali and Jersey, whose troubled connection with Davis helps Ali understand why her mother is so paranoid about her romantic choices.

But these concerns fall away when the performers start singing. Drake has a beautiful voice, but her Ali is slighter than that of Maleah Joi Moon, who won a Tony for her Broadway debut performance. I didn’t mind that Davis sings “Fallin’,” as Ellington has a voice of luscious thunder. Worrell’s Knuck more than holds his own with his duets with Ali. (In fact, I was more taken by his velvety interpretation of “Like You’ll Never See Me Again” than Ali’s more straightforwardly pretty version.) White’s Miss Liza Jane takes the Pantages audience to church in her numbers. And when Caughell magnificently directs “No One” to Ali, I can’t imagine there’s a dry eye in the house.

Desmond Sean Ellington as Davis and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

This tour production isn’t crisp in all areas. The dancing isn’t always smooth, the costumes struck me as a road show idea of New York cool, and the acting didn’t do much to compensate for some of the book’s less subtle moments.

But the energy of the production is infectious. “Hell’s Kitchen,” a New York story of a wunderkind discovering her gift, helped me get over my allergy to the jukebox genre. The soaring quality of the orchestra and the delectable company of voices pay exhilarating homage to a singular artist, who seems right at home at the Pantages.

Mason Edwards has first-round hype ahead of July’s 2026 MLB draft for a reason.

USC’s ace takes the mound like a boxer enters the ring, eager to land blow after blow. And as the Trojans (43-15) open the NCAA tournament in College Station, Texas, at 6 p.m. PDT Friday (ESPNU), the southpaw packs a serious punch. He carries a nation-leading 160 strikeouts and the second-best 1.43 ERA.

“They’re getting a competitor,” Edwards said of what people can expect when he pitches. “There have been a lot of situations where I’ve had to battle and fight adversity. So, I think you’ll see a good fight when I toe the rubber. I’m not going to shy away from any type of competition.”

If anything, the competition probably shies away from Edwards.

Named the Big Ten 2026 Pitcher of the Year after stacking a record 113 strikeouts in conference play, Edwards is integral to what has been USC’s best team since the early 2000s.

The junior enters Friday’s regional matchup against Texas State with a perfect 8-0 record through 15 starts and 88 1/3 total innings and has collected nine-plus strikeouts in all but two games during the 2026 season — earning a career-high 16 in a 9-2 home win over Iowa on April 10.

MLB.com ranks Edwards No. 36 in its latest draft prospect rankings. Despite being on his way to becoming a professional baseball player, Edwards remains focused on helping the Trojans pursue their first national title since 1998.

“It’s important to stay present,” Edwards said. “I still play at SC, so I’m still concerned with how USC’s doing and how our team is doing. At the end of the day, that’s what’s important right now. It’s a team sport, it’s not tennis or golf. Got to stay grounded with what’s important. Team winning; going to a regional, winning that; trying to take this team to Omaha. That’s the biggest thing.”

Edwards, 20, is having fun while focusing on the Trojans.

Describing himself as playful, “cool with everyone” and as an “all-around happy” person, Edwards is enjoying his third year at USC, particularly as a teammate everybody can rely on.

Underrecruited during his prep career at Palisades Charter High, Edwards was inconsistent during his first season with the Trojans. He had some promising outings but finished with a 7.88 ERA and 1-3 record through 37 2/3 frames.

Edwards improved as a sophomore, serving as a starter and reliever, finishing with a 3.86 ERA and 3-0 record over 32 2/3 innings. However, he dealt with minor arm injuries and still didn’t have a clear-cut role.

Today, though, Edwards is one of the best pitchers in the country. And his skipper couldn’t be prouder.

“His development’s been really good,” USC coach Andy Stankiewicz said of Edwards. “He’s gotten better. That’s the thing we’re proud of. He’s a guy that’s been in our program for three years. Mason was trying to figure out who he was gonna be. ‘Is he going to be a starter? Is he going to be a reliever? So, he was kind of that spot starter … When he was a youngster, sometimes his misses [were] really big, and they really weren’t competitive pitches. Now, every pitch is pretty competitive.”

Stankiewicz credited Trojans pitching coach Sean Allen for helping Edwards, known for his rising heater, improve his curveball and develop his breaking ball.

The four-year head coach also praised Edwards for being an increasingly confident leader.

“Guys like him,” Stankiewicz said. “Guys enjoy being around him. I enjoy his growth. I enjoy being around him. He’s fun. We can tease each other pretty well and have fun with it. [Edwards was] a typical young man his freshman year, doesn’t say much. And then by the junior, senior year, they just grow up.”

The ace said he appreciates Stankiewicz, noting the coach’s emphasis on making sure players leave the program as “good men.”

Edwards also shouted out Trojans director of player development Josh Goossen-Brown, for being in his corner for years.

“He’s been through it all,” Edwards said of Goossen-Brown. “Been working with him since high school — very early high school — and he works here now. So, very small world, that he was able to get a job here.”

It’s hard not to see how the stars have aligned for Edwards.

While he didn’t consider USC his dream school growing up, Edwards is achieving Trojans royalty status, with loved ones nearby to support his journey in the same threads as great Trojans he idolized such as Randy Johnson and Seth Etherton.

Already named his conference’s best pitcher, Edwards is a semifinalist for both National Pitcher of the Year and for the Golden Spikes Award — given to the best amateur baseball player in America — after becoming the first USC pitcher to surpass 140 strikeouts in a single season since Ian Kennedy in 2005.

Edwards said he has always believed in himself, especially after a particularly rocky freshman campaign when his future appeared far from clear.

“When you’re your own person, you kind of see more than something other people might see,” Edwards said. “But yeah, freshman year, I flashed stuff that I really held onto. It was definitely a roller coaster … but you just hold on to the good things. Really holding on to those positives and trying to take them into the following years has been a big part of why you see that development process.”

Taylor Sheridan’s “Yellowstone” universe, the sprawling neo-western TV franchise that chronicles the embattled Dutton family across time and locations, continues its aggressive expansion on screen with next week’s arrival of “Dutton Ranch.”

Premiering May 15 on Paramount+, the series continues the story of Beth Dutton (Kelly Reilly) and Rip Wheeler (Cole Hauser) — she’s the daughter of the late John Dutton (Kevin Costner), while he’s John’s longtime ranch foreman and fixer — as they migrate their passionate and unwavering love from Montana to South Texas to build a new life. The new series picks up about a year after the events that closed out the mothership series — namely, the selling of Yellowstone Ranch. And as you might expect, it doesn’t take long for them to make new enemies in their efforts to keep their new ranch operating.

Christina Alexandra Voros, who is an executive producer and director on the series, stopped by Guest Spot to talk about what sets “Dutton Ranch” apart from its parent show.

Also in this week’s Screen Gab, our recommendations include the return of a classic Cartoon Network series and a new addition to the growing microdrama landscape. And wait. Did you hear “The Bear” released a special episode? Let us tell you about it.

Scroll down and stream on. See you next week.

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Mordecai, a blue jay who works at the park, in “Regular Show: Lost Tapes.”

(Cartoon Network)

“Regular Show: The Lost Tapes” (Cartoon Network )

Nearly a decade after “Regular Show” flashed into history with a metafictional battle for the fate of the universe, J.G. Quintel is restoring his cult-beloved cartoon series to life, with its cast and creatives back in place. (Following the “Gumball” revival, these are great days for old-school CN fans.) A surreal hardly workplace comedy, it’s set in a city park (even when, in the last season, the park was hijacked into a tree-shaped space station), where the characters — a blue jay, a raccoon, a lollipop man, a Yeti, a muscular little green monster, a video-game ghost with a hand growing out of its body-head and a walking gumball machine, who runs things — get into scrapes as strange as that cast list might suggest. As the original series ended 25 years into the future, “The Lost Tapes” no doubt indicates a rewind — VHS is the preferred format of this crew — into an earlier world we can regard as the present. Though what, after all, is time to a cartoon? (The show premieres Monday on Cartoon Network, and will come to Hulu and HBO Max later in the year.) — Robert Lloyd

Eric C. Lynch, Brittney Jefferson and Jenna Nolen in a scene from “Screen Time.”

(Liliane Lathan)

“Screen Time” (TikTok, PineDrama)

When word hit that Issa Rae’s Hoorae Media was set to premiere its first microdrama series, which are essentially super-short TV shows shot for smartphones, it felt like it was finally time for me to see what this format on the rise is all about. “Screen Time” begins with a double-date movie night that goes off the rails after a mysterious figure hijacks the TV and sends two couples — Danielle (Brittney Jefferson of “Rap Sh!t”) and Marcus (Eric C. Lynch of “Queen Sugar”); and James (Xavier Avila of “Á La Carte”) and Olivia (Jasmine Luv of “Tell It Like a Woman”) — on a tailspin as they’re forced to confess their secrets or risk their online footprint being made public. It’s a fun and ridiculous ride, made all the more entertaining when you scroll the comments for a full communal experience. It’ll have you doing an inventory on your phone’s contents, if you’re not busy unplugging any nearby virtual assistants while questioning what’s up with Marcus. There are 27 episodes now available to watch, with each clocking in at roughly a minute and flowing into the next. (For a bit of comparison, the viral “Who TF Did I Marry?” TikTok series by Reesa Teesa, which held me hostage in 2024, had about 50 videos, with many lasting around 10 minutes. But that was real-life drama.) Of course, Rae knows something about making online content stand out. Long before “Insecure” made her an in-demand storyteller in TV and film, Rae broke through with her YouTube series “The Mis-Adventures of Awkward Black Girl.” The next episode drop arrives on May 22. — Y.V.

Catch up

Jon Bernthal as Michael “Mikey” Berzatto and Ebon Moss-Bachrach as Richard “Richie” Jerimovich in a stand-alone episode of “The Bear” titled “Gary.”

(FX)

Everything you need to know about the film or TV series everyone’s talking about

“Dutton Ranch” isn’t the only show spinning off family dynamics in new places. “The Bear” made a surprise episode drop earlier this week. Titled “Gary,” the stand-alone episode — listed on Hulu separate from the main show and not considered part of a season — is a one-hour flashback that mostly functions as a prequel. It follows Richie (Ebon Moss-Bachrach) as he sets out on a work trip to Gary, Ind., with Mikey (Jon Bernthal).

Though not biologically related, the pair are best friends who consider each other family of the “cousin” variety. And they’re tasked with running an errand for cousin Jimmy (Oliver Platt) to deliver a box whose contents neither knows. Moss-Bachrach and Bernthal, who have been friends since 2003, co-wrote the episode. And TV critic Robert Lloyd had this to say about the pair’s collaboration here: “One senses that as writers, they’ve built themselves a playground to act in; both are phenomenal.”

It’s also worth noting that, a day after the episode’s release, FX confirmed the Emmy-winning series is coming to an end next month. Fans questioned the show’s fate when the fourth season concluded with its tortured but deeply ambitious head chef Carmy Berzatto (Jeremy Allen White) announcing he planned to leave the restaurant. So, yes, chef: When “The Bear” returns on June 25 for it’s fifth season, it will be the series’ last.

Guest Spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

(Emerson Miller / Paramount+)

A pair of “Yellowstone” siblings are keeping television screens supplied with Dutton drama. After “Marshals,” the CBS procedural that follows Kayce Dutton (Luke Grimes) as he leaves ranch life to join an elite U.S. Marshals unit in Montana, became runaway hit for the network when it premiered earlier this year, quickly earning a Season 2 renewal, the fictional character’s sister, Beth (Reilly), is poised for her spin-off debut. Joined by her husband Rip (Hauser) and their surrogate son Carter (Fin Little), the trio relocate to South Texas to escape the ghosts of the Yellowstone ranch and build a new life in “Dutton Ranch.” Managing a new 7,000-acre property, they encounter new friends (a compassionate veterinarian played by Ed Harris) and foes (a rival rancher played by Annette Bening). The nine-episode series premieres with two episodes on May 15. Ahead of the show’s launch, reports surfaced that Chad Feehan, the show’s creator and showrunner, would not return for Season 2. I spoke with Voros, a longtime collaborator of Sheridan, about how the new series is different from the mothership, whether its central couple parallels the epic love story featured in “The Madison” and the show’s she’s been watching. — Y.V.

How is “Dutton Ranch” different from “Yellowstone”?

“Yellowstone” was entirely about a family holding on to the legacy of a place, and “Dutton Ranch” is entirely about building a new legacy. From a spiritual sense, what is driving these characters is similar — it is the bond to family, it is protection of each other. But the landscape has changed. In many ways, what was about land in the mothership has alchemized into being about family in “Dutton Ranch” because that’s what is left. The land that has brought them to their knees in war for generations is no longer something that burdens them, but they are tasked with building a new life and protecting that new life that they have built.

What is it about Beth and Rip that struck a chord with “Yellowstone” viewers? And why do you think they are well–suited to stretch this TV universe?

Everyone loves a good love story and everyone loves an imperfect hero. When two people find each other and complete each other in a way that is both untraditional and heroic and romantic, it’s hard not to fall in love with them — and it’s hard to not want to fight for them and want to see them succeed. I’ve been with “Yellowstone” since the first season, and I remember very clearly being out there in Montana, making this crazy, big, ambitious TV show. And I remember, the next year, no one could go out to a restaurant in town without being accosted. Then the next year, there were Rip and Beth costumes at the store for Halloween. It takes a very special kind of actor to be able to carry that story and that character forward and to keep evolving, and to not become a caricature of themselves, but to grow not just the fictional person, but to also grow as an artist, to continue breathing life into that character. And I think Kelly and Cole have done so with with such grace and such a profound commitment to each other and to the show and to storytelling. They’re both EPs this season, and it’s so well-earned. It’s not just on face value. They have been in the trenches from the very beginning, really fighting for and protecting themselves and the DNA of the series.

I know, in theory, Taylor’s other series that you worked on, “The Madison,” is not in the same fictional universe. But at the heart of that series is this epic, once-in-a-lifetime romance. Do you see parallels? Do you think Preston (Kurt Russell), whose character loved visiting Montana, and Rip would have ever crossed paths? Would they have liked each other?

They would have enjoyed a beer together if they stumbled into each other at the same bar. I think the pursuits that feed their souls are different. Beth and Stacy would have ultimately gotten along after probably some kind of caustic series of remarks at the same bar.

I think there’s something about enduring love that is in both of those relationships. There are parallels in terms of the secrets that people carry, not necessarily nefarious ones, but sides of yourself that you don’t always see. I will say, Rip and Beth understand all the facets of each other in a way that is different from Stacy and Preston. The love story of “The Madison” is about two people who share everything but this one thing. Rip and Beth’s characters have also known each other since they were teenagers, and they have experienced most of each other’s lives together. If you look at Taylor’s writing, and maybe this comes from his own love story, he loves writing these strong romances, whether it’s Rip and Beth or Stacy and Preston. There are these grounding relationships that are formed by these volatile people, and it is fascinating to watch, and I think people find something familiar in them.

Ed Harris as Everett McKinney and Annette Bening as Beulah Jackson in “Dutton Ranch.”

(Emerson Miller / Paramount+)

The cast in the Sheridan TV universe are all pros. You’re also working with some major screen heavyweights — Kevin Costner, Helen Mirren, Harrison Ford, Michelle Pfeiffer, etc. In “Dutton Ranch,” you have Annette Bening and Ed Harris. What was the pinch-me moment?

I don’t even know where to start. Ed came into my office to chat at the very beginning, before we started prep. I just froze for a second; I lost my ability to speak like a normal human being. You have to forget that they are who they are in the beginning until you settle into a routine, otherwise you would be too awe-inspired to really do anything productive with your day. I feel so spoiled by the caliber of artists that I’ve had the opportunity to work with. I’m working with Sam Jackson right now on “Frisco King.” I look at the work that I’ve done with Michelle and Kurt, then Annette and Ed on this — it’s such an honor that artists of that caliber are excited to come play in these worlds. Everyday on set with Annette and Ed makes me a wiser director, makes me a smarter human being.

It was recently reported that Chad Feehan, the series co-creator, departed the series as showrunner. What was your collaboration with him like? And how do you think he handled setting the foundation for this series?

Writing a spin-off to “Yellowstone” comes with a tremendous amount of responsibility and a tremendous amount of opportunity. It’s a gift to be able to work with characters like Rip and Beth, and I think Chad did a wonderful job creating a world of characters for them to go toe to toe with in the Jacksons. The original DNA of the No. 1s on our call sheet was always there, but they are entering a new path and a new part of their own journey and worthy adversaries were needed.

OK, before I let you go, what have you watched recently that you are recommending to everyone you know?

“The Beast in Me” [Netflix], I thought was unbelievable. It’s not the kind of thing that I normally watch. I just finished watching “Imperfect Women” [Hulu]. I was so taken by the performances in both of those shows. I love “Hacks” [HBO Max], I love “Shrinking” [Apple TV]. I balance my dark thriller with comedy.

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Mukalla, Yemen – At the Mukalla Creative Hub, a man in a black T-shirt leans over a desk to help a colleague with his project, while other men remain fixed on their laptop screens. Nearby women sit in ergonomic office chairs, writing or scrolling on their phones. On the other side of the space in Yemen’s coastal city of Mukalla, a sleek cafe-style counter stands at the entrance, while colourful armchairs are neatly arranged and occupied by a few people working among rows of computers.

What draws entrepreneurs, remote freelancers, and students here is not just the stylish setting or uninterrupted electricity, but something far more essential: fast, reliable Starlink satellite internet.

“Four Starlink devices power the space, delivering speeds of 100 to 150 Mbps and allowing users to stay constantly connected,” Hamzah Bakhdar, a digital freelancer who also works at the hub, told Al Jazeera.

In a country where war has devastated telecommunications, eroded salaries and cut off remote areas, Starlink is helping create a small but growing digital workforce of designers, developers, teachers, and freelancers who can now work for clients abroad and earn far more than Yemen’s crumbling local economy would otherwise allow.

Internet access in Yemen has also been weaponised, with buried land cables sometimes cut, leaving parts of the country abruptly disconnected. The Houthi rebels, who are based in the Yemeni capital Sanaa and have fought the internationally recognised government since 2014, control the country’s major internet providers. That allows them to block websites they view as linked to their opponents inside and outside the country, including key platforms used by tech developers and remote workers.

The arrival of Starlink satellite internet has provided an alternative, allowing people to bypass the Houthis’ tight grip on telecommunications and stay online even in remote areas.

Mohammed Helmi, a video editor and motion graphics designer, was juggling projects for three clients in Yemen, Saudi Arabia and the United States. Thanks to the fast internet at the cafe, he no longer worries about losing connection or missing deadlines, problems he said repeatedly disrupted his work in the past.

“In the past, when I downloaded files to my laptop, it would stop as soon as my data ran out,” Helmi, a young man with a thin moustache, told Al Jazeera at the cafe. “I had to buy another gigabyte and start the download all over again. Because of this, I often had to turn down projects.”

Control over the internet

Starlink is operated by billionaire Elon Musk’s SpaceX company, and delivers internet by linking a ground dish to low-orbit satellites owned and operated by the company.

While other satellite internet companies exist, and others are quickly entering the space, Starlink is the only low-orbit satellite internet service legally available in Yemen after the internationally recognised government signed an agreement with the company in September 2024.

But it’s not for everyone.

The kits cost about $500, a price that remains unaffordable for the vast majority of Yemenis, living in one of the poorest countries in the world, where more than 80 percent of people live below the poverty line.

Owning a dish is therefore still a distant dream for many Yemenis desperate to get online.

University students, like Mariam, a student at Hadramout University, says that even buying internet vouchers from local providers who resell Starlink access is beyond her reach – let alone purchasing a device herself.

“People are using vouchers because they cannot afford Starlink devices, whose prices are very high,” Mariam, who preferred to be identified only by her first name, told Al Jazeera.

The Houthis have also reacted aggressively to the arrival of Starlink, launching a campaign warning people against using the service and threatening legal action against anyone found in possession of the device.

They have accused the company of serving as a “US espionage agent” and said it posed “a major threat to national security”. Experts have worried that data gathered over Starlink’s internet service could be used for “intelligence gathering and economic exploitation“.

There are also concerns internationally over the concentration of satellite internet services and infrastructure in the hands of Starlink, particularly in light of Musk’s ownership, with the South African-born billionaire increasingly associating himself with far-right causes in the United States and Europe.

Connecting Yemen’s remote areas

But despite Houthi threats and the high cost of the devices by Yemeni standards, Starlink has spread across the country, reaching areas that had long been isolated.

Omer Banabelah, a mobile app developer, said that before Starlink arrived, a visit to his home village in Hadramout’s countryside meant disappearing from the digital world altogether. He could not make a phone call, let alone connect to the internet, leaving him anxious that clients would move on when their messages went unanswered. With Starlink now available in rural parts of the province, Banabelah said he no longer fears losing work every time he travels.

“I can reply to their messages anytime, from anywhere,” he told Al Jazeera. “Work that takes 10 minutes with Starlink could take an entire day without it.”

Similarly, Yemeni teachers, struggling with poor and delayed salaries that have stagnated for years, have also benefited from the spread of the internet service, which has allowed them to offer uninterrupted online classes and earn badly needed extra income.

Raja al-Dubae, a school director in Taiz, told Al Jazeera that her school began offering online classes based on the Yemeni curriculum to Yemeni students living abroad in the United Arab Emirates, Saudi Arabia, Egypt and China in 2023. It started with just 50 students, with teachers connecting through local networks.

But when internet traffic surged in the densely populated city each afternoon, the connections would collapse, forcing teachers to abandon classes mid-session.

“Teachers were often disconnected from their students, and by the time the internet stabilised, the next class had already begun, leaving them frustrated and unable to finish their lessons,” she said.

Al-Dubae said she initially rejected her nephew’s proposal to buy Starlink because of the high upfront cost, but now regrets the delay. Since installing the service, the number of students has climbed to more than 200, revenues have grown, and teachers have begun earning better additional pay.

“With Starlink, the internet is very fast and reaches every corner of the school,” she said. “Teachers no longer disconnect from their students. I never imagined it would make such a difference. Videos load quickly, we no longer turn away new applicants, and our reputation for fast internet has spread.”

For Yemenis who have grown used to Starlink’s high-speed internet, and the better incomes and business opportunities it has helped create, the worst-case scenario is a return to the slow, unreliable service of local networks.

“Go back to the headache of local networks? Perish the thought. We hope the service will continue to improve,” al-Dubae said, scoffing at the idea of reverting to local internet providers.

Helmi reacted similarly. “If Starlink were cut off, I would be devastated and forced back into the local market, which cannot cover my expenses or living costs,” he said, shifting in his seat and smiling at the thought. “I would need to take on three or four jobs just to match what I earn from a single project from abroad.”

PINKPANTHERESS brought out Zara Larsson, KATSEYE and Janelle Monae at the second weekend of Coachelle for her on-stage birthday bash.

The singer, 25, celebrated her big day while performing, with a slew of famous faces joining her for the iconic show.

Her fellow pop star Zara came out solo during her set to perform her song Midnight Sun to the crowd.

She thanked them and appeared to tease that PinkPantheress will feature on the upcoming deluxe version of her album of the same name.

At one stage, Janelle briefly joined the Boy’s A Liar singer on stage to play the guitar.

Later on, Australian DJ Ninajirachi played during the set, which led to several stars appearing, including actress Chase Infiniti, Manon from KATSEYE and Slayyyter.

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During her performance of Illegal with Tyriq Withers, the two spent the entire set dancing around one another.

The actor expressed: “I really had something important to say. I know it’s Coachella, shoutout Coachella, but a birdie told me that it is your birthday.”

He gave her a rose as the back up dancers held up a sign that said “Happy Birthday” which led to a thunderous applause from the audience.

The pair hugged before walking off stage hand in hand.

PinkPantheress wasn’t the only performer to bring out a special guest at this year’s Coachella festival.

Justin Bieber brought out Billie Eilish during weekend two, who has been a longtime fan of his.

He then sang he song One Less Lonely Girl to her midway through his Coachella set.

Clearly overcome by the special moment, Billie appeared emotional as she enjoyed being serenaded.

Fans took to X to react to the moment as one said: “THE FACT that it wasn’t planned, literally it was Hailey Bieber herself who pushed Billie Eilish to get on stage and be the OLLG.”

A second wrote: “No way that Billie Eilish became one less lonely girl in 2026.”

“This is so cute I love how Billie still stays in her fangirl zone around Justin,” said a third.

“Will go down as one of the most iconic Coachella performances ever,” added a fourth.

During her own set, Sabrina Carpenter stunned revellers by bringing out the icon that is Madonna.

The 67-year-old legend teamed up the Espresso singer 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.

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

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.”

ADDISON Rae surprised music lovers at Coachella weekend two by bringing out Olivia Rodrigo to perform her new single Drop Dead.

The track came out on Friday, marking itself as the lead single off of Olivia’s much-anticipated third album “you look pretty sad for a girl so in love.”

The Diet Pepsi singer turned to the crowd and asked them if they had been listening to any new music during the week, before beginning to sing her 2025 single, Headphones On.

However, when Addison sung the lyrics “I compare myself to the new IT girl,” Olivia came out of nowhere and joined in the performance.

The moment was met with enormous cheers from the crowd, as no one expected a special guest to arrive.

But the roaring reception only got louder as the ladies launched into singing Drop Dead.

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Olivia announced that she was releasing her third album earlier this month via a post to her Instagram channel.

In the post she shared a photo of the front cover, showing her with her eyes shut on a swing set.

In the caption she revealed the release date as June 12, sharing: “My third album ‘You seem pretty sad for a girl so in love’ is out June 12th.

“I am so proud of this record and I can’t wait for you to hear it.”

Drop Dead is the first new music to arrive from Olivia since September 2023 when she released her Sophomore album, GUTS.

GUTS achieved massive success with hits including Vampire and Bad Idea Right?

It followed the success of her debut album SOUR from 2021, adored for smash-hit Drivers License.

Weekend two of Coachella has been incredibly popular, abundant with A-list celebrities and more surprise guests.

Sabrina Carpenter wowed the audience on Friday night with a long set that told the story of a young girl navigating Hollywood throughout each song.

But just when fans thought the show couldn’t get any better Sabrina brought out Madonna, and they dueted a rendition of Like A Prayer.

Justin Bieber also wowed the crowd and got them in their feelings, bringing a laptop on stage to sing along to his old hits karaoke-style.

But PinkPantheress pulled out all the stops when it came to surprise guests.

The songstress brought out not one but three fellow musicians including Zara Larsson and Janelle Monae.

KATSEYE concluded the trio of surprise singers, and the crowd absolutely loved it.

Coachella festival is held annually at the Empire Polo Club in California.

Anyone who thinks Coachella’s biggest surprises are reserved for Weekend 1 was proven wrong Friday night as Sabrina Carpenter welcomed Madonna on stage during her Weekend 2 headlining set. The crowd exploded with waves of cheers as the iconic pop star came on stage.

Madge joined Carpenter as a surprise guest during “Juno,” in which Carpenter reemerged in a gown that was a nod to Botticelli’s “The Birth of Venus” for a torch-passing duet of Madonna’s 1990 pop-house gauntlet “Vogue.”

The classic was followed by the debut of the gloriously upbeat “I Feel Free,” the first track from the pop icon’s forthcoming new album “Confessions II,” due out July 3.

The singer announced the record, a sequel to 2005’s “Confessions On A Dancefloor,” on April 15, alongside a 60-second teaser video for “I Feel Free.”

The Coachella performance, however, marks the first time the song has been heard in full — a fitting full circle moment 20 after Madonna played the Sahara Tent in 2006, complete with the same boots and costuming from that gig. “Confessions II” will be Madonna’s first full-length album since 2019’s “Madame X.”

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“Let’s try to be together. Let’s try to avoid disagreements,” Madonna said as she spoke about the moon and planets aligning.

Before the pair ended with “Like a Prayer,” accompanied by a choir, Madonna had another reason to be grateful.

“This is probably the first time I’ve ever performed with someone shorter than me,” Madonna said to Carpenter as the crowd laughed. “Thank you for giving me that experience.”

Senior Audience Editor Vanessa Franko contributed to this report.

Back when late-night TV sets were still the primary route for a comedian to reach a mainstream audience, Ari Shaffir found a different way to make his mark. It started with creating a show where comics could tell completely uncensored, unhinged real-life stories. What started as a live show grew into “This Is Not Happening” on Comedy Central, and later, into “Ari Shaffir’s Renamed Storytelling Show,” building a loyal fan base along the way, with clips still making the rounds 15 years later.

Supporting shows leads to new opportunities, and while Shaffir’s latest chapter may close the book on his storytelling run, his final offering is certainly a strong one. Aptly titled “The End,” and taped live at the Box NYC, this seven-part series will be released and available for purchase through YMH Studios on Thursday , and it’s jam-packed with comedians that quite literally might kill you. Especially one.

The lineup is too stacked to leave anyone out, so buckle up for wild, unforgettable stories from Shaffir, Tom Segura, Ali Siddiq, Nate Bargatze, Tony Hinchcliffe, Ms. Pat, Shane Gillis, Sam Tallent, Steph Tolev, Jim Breuer, Robert Kelly, Chris Distefano, Big Jay Oakerson, Jordan Jensen, Joe List, Steve Simeone, Mark Normand, Duncan Trussell, Roy Wood Jr., Jessa Reed, Sarah Tollemache, Dan Soder and Colum Tyrrell.

Dan Soder, left, and Shane Gillis appear in Chapter 6.

(Troy Conrad)

Everyone’s stories are so next–level, and I almost choke-laughed and died during Ms. Pat’s. It also looks incredible, tell me everything about the room.

Ari Shaffir: The room is called the Box, and it’s this burlesque place. Or maybe you call it modern burlesque because it’s not just those feathers. I really don’t know, but I feel like burlesque has evolved and that’s what this place is. It’s kinda crazy, and it’s definitely a night out. Dave Chappelle used to have these “comedian balls,” which were so cool because he would just invite comics. Like, all of the comics. He’d invite everyone out and pretty much without saying it was like, talk to each other and trade ideas about the industry. It was just so cool in there, and we scouted a bunch of places, but the look of this place, it was just right.

It makes so much sense that the room is called the Box now, visually.

What you saw wasn’t even color-corrected, so I appreciate it. I went to test the sound because we put the stage in a different place. It moves around and we just thought it looked better with all the red, but I wanted to hear what the sound was like when they were not on the stage too. They were like, oh the emcee will have a cordless as they move around, and I watched it, and it was great. But man, I was so f— up on molly that I was grinding my teeth so hard that I cracked a molar, so yeah, that place rules!

Ali Siddiq appears in Chapter 7.

(Troy Conrad)

Well, the room took my breath away, kinda like the lord took your solid tooth away. It’ll make sense to fans of your podcast You Be Trippin’ that ‘The End’ is produced by YMH Studios, but how did this series even end up happening?

Tom [Segura] and I have a relationship, we were openers for Rogan together, and we were kinda broke together, so we just talk about things. He’s so funny and prolific and I like talking things out with him. I talked to him about doing my special “Jew” too, but they were busy with the show, and you know back then, people weren’t jumping on getting into YouTube specials. So I had a chance to think about doing this show over the pandemic and finally was like, alright, let’s start working on this, and they said, “Come talk to us about it because we can help you now.” They have a great infrastructure there, and a streaming service too, so it’s like they already have everything built in, and Tom was like, “Dude, this show meant a lot to me, and we should make it again.” It’s not going to be a huge moneymaker for Tom, you know, it’s like pro bono work for lawyers, so it’s really cool of them. Another cool thing about this is the way the staff kicked in too. They’re all super talented, and kind of wasting their time on podcasts because they’re more talented than that, but it’s cool to work with a family and I liked the way they really took ownership of the work they did.

They’re a well-oiled machine of fun over there! With so many wild stories in the mix, is there anyone you are especially excited for people to see?

I’m excited to show some people new people. Even with the live shows, it’s always like, let me show you two headliners you know, a mid-level guy you’ll know and let me show you two people that you just don’t know. That’s what stand-up is in New York, L.A. and even Austin. There are some killers no one has ever heard of, and they’re destroyers. So I’m excited to show people Colum Tyrrell because he rules, he’s so funny, and his story is great. Tony Hinchcliffe’s story was really good, he’s just a monster storyteller in every sense of the word now. I just rewatched all of these a few times in a row for sound, and Roy Wood Jr. is so smooth it makes me feel like I’m needy and insecure on the stage. He’s just so calm and so good you’re like, “Damn, I’ve never been this smooth.” Sam Tallent is going to be one people talk about, Jim Breuer is so great, Steph Tolev crushed it with something fun and interesting and wow, this is really tough. Every time I’m doing a promo for this show it’s like, but what about this person, and this one?

It was also nice to see past killers on, definitely love to see the classics doing something new.

Yeah, having Big Jay [Oakerson] back was a key because he’s on the Mount Rushmore of this show, and we have three of those on “The End.” Jay, Ms. Pat and Ali Siddiq. We couldn’t get Sean Patton out because he was shooting something, and Bert [Kreischer] had a movie or something with his daughter moving or maybe it was a graduation…

Ms. Pat, from left, Ari Shaffir, Dan Soder, Duncan Trussell, Shane Gillis and Colum Tyrrell.

(Troy Conrad)

What a funny world, though, if Bert Kreischer paid to have a graduation moved so he could do your show.

Yes! Just pay the school to move the graduation for a week! Don’t you make like $50 million a year? It’s so funny how it used to be crazy to think of someone making $100 million and now there are like 10 comics who make at least half of that. And without doing press! It is really cool, though, I haven’t paid for lunch in so long. And Ali Siddiq has become so huge, he’s like the success story of this storytelling show in its entirety. Everyone got helped a little bit, but Ali kind of broke off of these stories and to see him so successful and still so smooth, it’s really cool. You can’t be “niche” doing arenas, and there’s this independent boom that’s not going to wait for anybody. So it’s another big win for us, it’s our turn in the whole story of this.

So then is this really “The End” or could it be a new start?

There is a very, very small percentage of a chance that it comes back. The plan is that this is it, and that’s why we called it that. I’m just glad you liked the show. I’m glad you liked the look and the intimacy, and that you picked up on all of that. It feels so long ago that you forget, but that’s so awesome to hear because it was a lot of fun. I think comedy fans that knew about the show before will want to see more of it because it’s just this funny televised storytelling, and they missed it. And everything turns over every five years anyway, so new people can now be like, actual stories being told like this in front of an audience? What is this cool new thing?

A POPULAR European city is set to bring back its ‘tourist tax’ for visitors this summer.

The city became the first metropolitan area globally to charge day-trippers an admission fee, which was introduced on April 25, 2024.

Day-trippers who book last-minute trips to Venice this summer will feel the biggest sting, with reservations that are made less than four days in advance costing €10 per person.

Holidaymakers who are a bit more organised, and book their trips more than four days ahead of their planned visit, will only have to pay €5.

Entering the city before 8.30am or after 4pm exempts you from paying, as does being a current resident or a Venetian-born visitor, a student, worker, or someone in the city on an overnight stay.

When you’ve secured your QR code via the booking platform, it will be checked at one of seven entry points across Venice, which includes Santa Lucia railway station.

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However, if you do not pay the fee and are not registered for exemption, or if you fail to produce the QR code, you could be fined anywhere between €50-300.

That’s equivalent to up to £260.

The number of pay-to-enter days is increasing from 54 to 60 this year.

However, last year’s stats show visitor numbers dropped only slightly over the summer, from an average of 16,676 in 2024 to 13,046 in 2025.

The new tax is to help incentivise tourists to visit the small Italian city on weekdays, rather than during the weekend.

But it faces opposition as critics argue that it would not teach visitors ‘respect’.

Giovanni Martini, the city council member, said: “Wanting to raise this to 10 euros is absolutely useless. It makes Venice a museum.”

There are now more tourist beds in Venice than official residents, whose numbers stand at an all-time low of 50,000.

The dates the fee will be in place this year

• April: 3, 4, 5, 6, 10, 11, 12, 17, 18, 19, 24, 25, 26, 27, 28, 29, 30
• May: 1, 2, 3, 8, 9, 10, 15, 16, 17, 22, 23, 24, 29, 30, 31
• June: 1, 2, 3, 4, 5, 6, 7, 12, 13, 14, 19, 20, 21, 26, 27, 28
• July: 3, 4, 5, 10, 11, 12, 17, 18, 19, 24, 25, 26