brings

July 28 (UPI) — Hurricane Genevieve remained a powerful Category 4 storm Monday night in the Pacific, according to forecasters who said it was bringing life-threatening surf and rip-current conditions to the Baja California Peninsula.

The storm was located about 505 miles southwest of the southern tip of Baja California, the National Hurricane Center said in its 8 p.m. MST update. It was packing maximum sustained winds of 145 mph and was moving northwest at 12 mph.

No coastal watches or warnings were in effect, though forecasters said swells generated by Genevieve were affecting portions of the southwestern coast of Mexico and the Baja California Peninsula.

“These swells are likely to cause life-threatening surf and rip current conditions,” the NHC said.

Although it remained a major hurricane, forecasters expected it to steadily weaken over the next several days, during which it is forecast to move northwest to west-northwest.

July 28 (UPI) — Fausto weakened from a hurricane to a tropical storm Monday, according to forecasters, who warned the Hawaiian Islands to expect “significant surf” over the next couple of days.

The storm was located about 415 miles east-northeast of Hilo, Hawaii, and had maximum sustained winds of 70 mph, the National Hurricane Center said in its 5 p.m. HST update.

It was moving west-northwest at a blistering 16 mph, it said.

No coastal watches or warnings were in effect.

However, the NHC said surf generated by Fausto would continue to build westward across Hawaii along east-facing shores through Tuesday as the storm approached and began to pass north of the islands.

“On the forecast track, Fausto should pass north of the Hawaiian Islands during the next few days,” it said.

Anduril has revealed a new hybrid-electric-powered tiltrotor combat drone called Thunder, which it has developed in partnership with Archer Aviation. Thunder is envisioned as a highly autonomous pilotless wingman able to fly fast and low in formation with crewed helicopters and tiltrotors like the AH-64 Apache and MV-75 Cheyenne II. The drones could help hunt down targets, including fleeting ones, while allowing their human teammates to stay further away from threats. Thunder is also being designed to help provide an extra layer of close-in defense for friendly rotorcraft, including against the growing threat of air-to-air drone attacks. All of this is part of a detailed teaming concept Anduril has outlined to fill what it says are critical operational gaps in current and future conflicts.

Anduril and Archer rolled out Thunder today, around the biennial Farnborough International Airshow in the United Kingdom. A mockup, which Anduril says reflects a “mature” outer mold-line of the design, will be on display at the show.

“Thunder is very much an attack aircraft, so it is designed for very high performance, [and] low-level [flight],” Shane Arnott, Senior Vice President of Maneuver Dominance at Anduril, told TWZ and other outlets during a press call ahead of today’s announcement. “Very much in that Apache space, say, versus a high-flying surveillance aircraft.”

At the time of writing, Anduril has only released relatively broad details about the expected performance and other specifications of the drone, which has been under development for around three years now. A first flight is currently targeted for some time next year, and full-scale production could be underway by the end of the decade, depending on demand. The company has also already been working on Thunder together with “government customers,” but has explicitly declined to name any of them.

It’s also worth noting that a version of Thunder configured for commercial applications is also in the works, with Archer Aviation set to release more details on that later this week.

What we know about the Thunder design

Thunder is a clean-sheet design with a relatively traditional tiltrotor layout featuring a high-mounted, straight main wing on top of the fuselage. The wing has a single tilting rotor pod at each tip. It also has a V-tail.

In terms of overall size and performance, Anduril describes Thunder as a Group 5 design. The U.S. government breaks uncrewed aerial systems into five categories. Group 5 is the highest tier, covering anything with a maximum takeoff weight of 1,320 pounds or more, and that can fly at altitudes of 18,000 feet or higher. 

“It will have the ability to work at that at [18,000 feet], but the intent is for it to be nap-of-the-earth for most of its life,” Anduril’s Arnott noted. “That’s where it’ll be spending its time. Think about the Apache kind of profile. So you’ll hit certain altitudes to get your ferry ranges, etc. But when you’re in the AO [area of operations] and in combat, you’re as close to the dirt as you can get.”

Arnott also described Thunder as having the same general top speed and range as the MV-75 Cheyenne II, which is now under development for the U.S. Army. The Army is reportedly expecting the MV-75 to boast a top speed of 320 miles per hour and have an unrefueled range of 920 miles. This is far above the range and speed offered by any current Army helicopter. Beyond teaming with Apaches and similar attack helicopters, being able to keep pace with the Cheyenne II could be an especially important feature for the Thunder, as we will touch on again later.

Anduril has also described Thunder as being smaller than the Apache and able to be broken down for transport inside a standard 40-foot shipping container. As an aside, it is unclear exactly how much time is necessary to get the tiltrotor drone out of a container and flying again. Getting it loaded in the first place does require separating the wing structure from the fuselage, at least in the design’s current form, according to the company. The drone will also have the speed and range necessary for self-deployment.

When it comes to propulsion, “a series hybrid-electric powertrain enables Thunder to achieve significant range and endurance, while still maintaining the necessary precision to closely optimize power through the full range of flight conditions,” according to a press release from Anduril. “Meanwhile, Optimum-Speed Tiltrotors (OSTR) vary rotor RPM [rotations per minute] to maintain efficiency across flight regimes, reducing power demand and fuel burn in cruise and minimizing acoustic signature to enhance survivability during low-altitude ingress.”

“From a survivability standpoint, one of the big tells for helicopters today, is just they’re very noisy, and the threat can hear when they’re coming,” Anduril’s Arnott also added when speaking to TWZ and other outlets. “We’re at orders of magnitude below the sound level with this particular system than the current systems that are out there today.”

The partnership with Archer Aviation, a company whose public profile is focused on crewed fully electric-powered vertical takeoff and landing aircraft, has been key here. Anduril also cited Archer’s motor technology as being a key feature of the hybrid-electric Omen tail-sitting vertical takeoff and landing drone, which was unveiled last year.

Tech Short | Midnight’s Proprietary eVTOL Engine Dynos

During the press call ahead of today’s unveiling, Chris Brose, Anduril’s President and Chief Strategy Officer, said that he felt that leveraging the immense investment by companies like Archer in the electric vertical takeoff and landing (eVTOL) development space had “made Thunder possible in a way today that it just wouldn’t have been possible five, 10, certainly 15 years ago.”

“So this is not electric, this is a hybrid-electric system,” Anduril’s Arnott also stressed. “But in doing so, it actually reduces the complexity of the drive trains, etc.”

Rotor technology for another firm, Karem, has also been leveraged in the development of Thunder. Karem has a long history in the tiltrotor design space, including work done for the U.S. Army and the Defense Advanced Research Projects Agency (DARPA).

“Karem’s military-grade rotor systems are among the most advanced Army-validated technologies in the world,” Adam Goldstein, Archer Founder and CEO, said in a press release about a new collaboration between the two companies in December 2025. “Integrating them into our next-gen hybrid VTOL [vertical takeoff and landing] platform positions Archer to move faster and deliver capabilities that legacy systems simply can’t match.”

The unnamed “next-gen hybrid VTOL platform” at the center of Archer’s December announcement has now been confirmed to be Thunder.

Modular capabilities and advanced autonomy

Capability-wise, Thunder is a highly modular design with reconfigurable payload bays in the nose and the center of the fuselage.

The drone can carry up to 10 air-to-ground missiles, 16 ‘launched effects,’ four 19-shot pods holding a total of 76 70mm laser-guided Advanced Precision Kill Weapon System II (APKWS II) rockets, or a mix thereof, on launchers that extend to either side from the main bay, according to Anduril. Air-to-ground missiles here could include AGM-114 Hellfires, AGM-179 Joint Air-to-Ground Missiles (JAGM), or Anduril’s Barracuda-100M.

The term launched effects is used today to collectively refer to drones configured to perform a variety of missions, including serving as loitering munitions, which can be fired from air, ground, and/or maritime platforms. Anduril specifically mentioned its ALTIUS-600 design as one potential option for Thunder. ALTIUS-600 can be set up to perform surveillance and reconnaissance and electronic warfare tasks, act as a decoy, and launch kinetic attacks.

The company has also specifically highlighted the ability of the bay in the nose to hold launchers for kinetic interceptors to take down incoming drones, something we will come back to later on. It is worth noting that APKWS II is already a combat-proven, lower-cost counter-drone weapon, including in the air-to-air mode. However, it is employed in more traditional counter-air applications, like intercepting one-way attack munitions and cruise missiles, not for defending the shooting platform itself against incoming high-speed anti-aircraft drones.

Both the nose and main payload bays could accommodate other systems, such as electronic warfare suites, additional sensors, and/or communications packages. Each Thunder will also have its own built-in sensor suite to support surveillance and reconnaissance, as well as target acquisition tasks.

In addition, Thunder will have passive sensing capabilities to support general operation and navigation. This will be especially important for enabling high-speed nap-of-the-earth flight profiles. It will also be essential for providing situational awareness and flight safety margins while operating in relatively close proximity to crewed teammates, as well as other drones.

“We’ve spent the last couple of years working with technologies that are coming out of the self-driving car industry, plus some of that are coming out of the Anduril sensor/imaging kind of groups, in order for us to detect a terrain, [and] do that in a passive sense, so we’re not giving away our position,” according to Anduril’s Arnott. The sensors will also “be able to detect weapons coming at us, power lines, that type of thing, and have it such that you can have three to six of these things flying with a two-ship [group] of Apache, for instance, to provide that loyal wingman nature.”

“Thunder’s multi-modal machine perception stack and sensor suite combines passive and selective active sensors with onboard computer vision, map data, and edge compute, enabling Thunder to continuously detect, classify, and track terrain, obstacles, and threats,” Anduril has also explained in a blog post accompanying today’s announcement. “That sensor data provides the inputs necessary to facilitate the visual navigation, inertial positioning, and terrain feature mapping that enable Thunder to remain on course when GPS, visibility, and communications are degraded or denied.”

“With sophisticated onboard machine perception, vehicle autonomy, and flight-proven collaborative mission autonomy software, Thunder can maneuver with the formation, share data in real time, coordinate effects, and act on pilot intent, delivering a trusted autonomous wingman that can keep up with, defend, and empower the pilots flying the most congested airspace on the battlefield,” the blog post adds.

Anduril’s Lattice proprietary artificial intelligence-enabled software package will underpin Thunder’s overall autonomous capabilities. The company says other autonomous software could also be integrated to meet particular customer demands. Anduril has already conducted testing of some components of Thunder’s autonomy and sensing systems using unspecified surrogate aircraft.

Lattice for Mission Autonomy: An Unfair Advantage for Unrivaled Deterrence

Just one part of a full concept of operations

What has been shared so far about Thunder’s capabilities brings us to the larger concept of operations Anduril envisions for the drone. The company says the war in Ukraine has had an especially heavy influence on its thinking around the design. This is very interesting, as this particular conflict has prompted serious questions about the future relevance of traditional helicopters on modern battlefields where the threat ecosystem continues to grow in scale and scope.

Anduril acknowledges the breadth of dangers that helicopters and tiltrotors already face. This is perhaps best evidenced by the touting of Thunder’s ability to defend against air-to-air drone attacks, something the ongoing fighting in Ukraine has shown to be a real threat, as seen in the video below. Anduril’s Arnott also explicitly mentioned the threat posed by shoulder-fired surface-to-air missiles, also known as man-portable air defense systems (MANPADS), while speaking to TWZ and other outlets.

At the same time, Anduril argues that there are critical missions rotorcraft perform today that cannot be fully transposed onto other kinds of platforms, and that drone wingmen like Thunder will therefore be an essential addition to the equation. The company has not yet shared a projected unit cost for the drone, but has also stressed that it fits in with a broader understanding of a need for platforms that are lower cost and more readily producible to create sufficient operational capacity, or ‘mass,’ for forces to succeed in future conflicts. Anduril’s Brose said that Thunder will be a “fraction” of the cost of something like an Apache or an MV-75, and operators will be able to “afford to lose it if you have to.”

“Many of the things that we’ve designed and engineered into Thunder are really based on the lessons that the United States and our European allies are learning in Ukraine, and this whole question of how do you bring mass to the battlefield in a tactical environment where you have to be able to engage in the deep fight,” Brose explained in more detail about Anduril’s overall thinking around Thunder. “We’re looking at the proliferation of robotic systems, and drones, and sensors, and that’s all very good and very important. But you also raise the question of, well, how are you going to get that stuff farther downrange into the environments where you need it to be able to conduct those more sophisticated and more challenging missions, again on behalf of U.S. and NATO militaries?”

To meet those operational needs, “you have to have the ability to launch and recover combat power without runways. You have to be able to do this in expeditionary environments,” he continued, underscoring the value of a VTOL platform. “When your runways get cratered, you have to have the ability to conduct the mission.”

Runway independence, or at least reducing dependence on traditional runways, has become an increasing mantra across the U.S. military, in particular, in recent years, as TWZ regularly highlights. The U.S. Marine Corps and the U.S. Air Force, as well as the special operations community, have put particular emphasis on this in new and still evolving concepts of operations in recent years.

So, “in terms of how you then get a greater quantity of sensors and weapons into the fight to support those manned systems, to support the ground force to be able to conduct those long-range missions from a maneuver warfare standpoint, and really make maneuver central to warfare again, we really see this system in Thunder being absolutely central to that,” Brose added.

Brose specifically took aim at the idea that lower-cost, long-range one-way attack drones could fill the same kinds of mission requirements. The U.S. military just recently began fielding this capability in the form of the Low-Cost Uncrewed Combat Attack System (LUCAS) drone, which made its official combat debut in Operation Epic Fury against Iran.

“A lot of those longer-range one-way attack missions, they’re going after fixed targets,” he said. “They’re slower flights out. It’s [the total duration of the strike mission] going to play out over a longer period of time. They’re hitting critical infrastructure, military installations, production capacity, et cetera. Basically, GPS points that aren’t moving.”

“What this is focused on is the ability to transit through the operational environment,” he continued. “To survive and then to persist once you get there, so that you can provide effects to attack aviation elements in the air that are conducting missions or ground forces that are conducting missions on the land. That immediately gets into a time-sensitive, dynamic targeting kind of mission space that a system like this has to be able to survive and persist and operate effectively in.”

It is important to note here that new targeting capabilities have already been emerging in the realm of longer-range one-way attack drones. LUCAS and many Ukrainian designs now have satellite communications-enabled man-in-the-loop functionality, allowing them to hit dynamic/moving targets. Driven by advances in artificial intelligence-driven technologies, drones are set to steadily gain greater ability to find and choose targets autonomously, something TWZ has previously explored in detail. This being said, they are still single-use weapons that offer very different capabilities from what Anduril is aiming for with Thunder.

Anduril’s Arnott also questioned the relevance of existing higher-flying armed drones to meet these kinds of operational needs. The MQ-9 Reaper has been very much in public consciousness recently due to its heavy use in the conflict with Iran, but also substantial combat losses. The U.S. Air Force has described the MQ-9 as a star player in operations against Iran, despite having lost dozens of them.

“As we got further and further up and higher and higher, [we] got comfortable because we own the air, but things have changed,” Arnott said. “We’re seeing that in [Operation] Epic Fury, the Iranians, etc. have got systems that are just knocking that type of CONOP off its feet, and it’s just not relevant anymore. So that’s why we’ve gone back to the surface. That’s where the survivability is for these types of systems, to fly low and fast.”

“Right now, we don’t see another solve [sic; solution] for that, and this is probably the ugliest of all the warfighting domains, where you still need a human … to do the sorting of the targets on friend and foe, etc,” he added. “The only way you can do that is to have a quarterback, say, with an Apache, and then these loyal wingmen, if you will, to enable their survivability, but also to project a lot more mass in the deep [fight].”

Despite all the talk of lessons learned from contemporary conflicts, Anduril has made clear that its view of future ‘deep fights’ goes well beyond Europe and the Middle East. He said that Thunder’s speed and range, and the basic choice of a tiltrotor conflict, were also intended to make it very relevant for a conflict in the broad expanses of the Pacific. The U.S. Army’s decision to acquire the MV-75 was notably driven by the same general factors.

“This is a gap. There is actually no way when you fast forward into full theater conflicts in the Pacific, even the Taiwanese, if you play through the war games and things get entrenched, there isn’t a way in other than these types of techniques,” Arnott told TWZ directly in a separate interview about Thunder ahead of today’s announcement. “If Russia does start their activity into the High North [in and around the Arctic region,] as well as China, you get to the same situations. You can’t do all your warfare from 30 or 15,000 feet. It just does not work, apart from the fixed targets.”

A more detailed notional Thunder vignette

Anduril’s Arnott also described more detailed notional operational scenarios involving Thunder to us during that interview:

“The concepts to date have been primarily driven around that you’ve got a two-ship [of] Apache, very traditional formation. You would then, depending on the mission, whether it’s a protective mission for the two ship, whether it’s a deep strike mission, or an ISR [intelligence, surveillance, and reconnaissance] type mission, you’d have between three and six thunders for every two ship ARH [armed reconnaissance helicopter], and the intent there being that that’s a lot of metal in the air and a lot of things to manage.”

“So very much for it to be the command as opposed to control, where in effect, the way that the team presents to the Apache cockpit, whoever’s kind of got the leash, is it looks like another Apache. So it basically comes across [on] very similar data links to what the aircraft has. We call this concept ‘polite participant.’ So we don’t force any new software onto the host aircraft, or the mothership, or the quarterback, I should say. And in doing so, those teammates or wingmen are smart enough to be able to navigate and aviate in such a way that you don’t get in the way to be able to give them the similar level of command that you would to a wingman, wing person, if you will, and that they’re able to array themselves.”

“And whether it’s a chevron formation in front, whether it’s some sort of formation around the outside at cardinal points around the aircraft for a protective – a force protection mission, where you’re utilizing the counter-UAS systems that are on thunder and also electronic protection. But basically, you would put them into postures, and you command these postures that reflect themselves in formation, and then activation of various payloads that they have on board, and that may change also through the mission.”

“So you may have a setup where you’ve got the Apaches at the FOB [forward operating base]. You’ll have either at the FOB or somewhere nearby the Thunders. These guys come together and they form up. They move out. Initially, you’re just in [a] train, so you’re tracking into the AO [area of operations]. You come into … the forward line of troops. You then may move into a configuration where you’re at the cardinal points around the outside of the Apache, because part of the problem with the land domain is that the threats can come at any angle to you, and [you] have activated the counter-UAS systems and the electronic protect systems, for instance. So the Thunders would be either radiating or waiting for irradiation [sic] from an electronic attack standpoint, based on certain signals, or having their doors open as it relates to the counter-UAS, the kinetic kill payloads, that are on there, as you then transit through certain areas.”

“That may then change, where the counter-UAS payloads are in the nose, for instance, they would close, and then you go into the direct attack, which would be the main payload bay that you’ve seen the doors that are coming out. They may be fitted with direct attack weapons like Hydras [70mm unguided rockets], APKWS, or Hellfires, for instance, and then be in fire support to the Apaches in a similar way that the Apaches work together to – one set of aircrew can designate and shoot off the other[‘s targeting data]. For instance, it’s a very similar workflow, so it’s not a new workflow for direct attack.”

“Or it could be, ‘hey, I need to go and find something out there.’ So today, they’ll use the M-TADS [Modernized Target Acquisition and Designation Sight] for the video. They’ll use the fire control radar to scan an area. It’s a similar kind of workflow where they’re like, “Hey, I need to find out about something out there. The Thunders could release launched effects, for instance, like the ALTIUS product that we have, but it could be [an AeroVironment] Switchblade, it could be something else, and they would then talk back to the Thunders. So we’d have that concept of tiering out in front. The ALTIUS are then out there, and they’re finding targets autonomously with their computer vision. They’re then providing back a track picture, so icons, if you will, that come back to the Thunder. The Thunder then talks back to the Apache via the Apache data link, and the symbols appear on their map display or their FCR [fire control radar], just like they would if they were self-identified or coming from one of their formation, as well.”

Apache Fire Control: Modernized Target Acquisition Designation Sight/Pilot Night Vision Sensor

Boeing AH-64D Longbow Apache

“So the intent is these workflows are exactly the same. How it presents to the warfighter is the same. It’s just more. You can see further. You can shoot more. But the workflow, in effect, is effectively the same. So that is the whole concept of this polite participant construct that we have.”

Arnott stressed that his use of Apache here was as a generic example and that this overall concept could work with other helicopters serving in the quarterback role. Anduril also envisions command and control of the Thunders being executed by helicopter crews through existing cockpit displays rather than a tertiary device, such as a tablet. There has been much debate over the years about the physical user interface that is most suitable for use on crewed aircraft of any kind to direct uncrewed teammates.

Competition in a growing market space

Anduril is certainly not alone in seeing a market space emerging for this kind of teaming with existing and future crewed helicopters and tiltrotors, at least in broad strokes. Boeing and Sikorsky (a subsidiary now of Lockheed Martin) both unveiled vertical takeoff and landing capable loyal wingman-type drone designs around the Association of the U.S. Army’s (AUSA) main annual conference last year. Boeing’s Collaborative Transformational Rotorcraft (CxR) is also a tiltrotor.

In addition, almost a decade ago now, Bell announced it was working on a Group 5 tiltrotor drone called the V-247 Vigilant. The V-247 was originally developed in response to a U.S. Marine Corps requirement, but Bell has since shown renderings depicting it operating together with versions of its crewed V-280 Valor tiltrotor design, on which the MV-75 was based.

“So, last fall, we actually asked industry what they can provide for a Group 4 VTOL/STOL [vertical takeoff and landing/short takeoff and landing] perspective,” Brig. Gen. David Phillips, head of the Army’s Program Executive Office for Aviation (PEO-Aviation), said at a roundtable at AUSA. “So we use that as a great set of information on what the state of the art of technology is from a range, speed, payload, and really effects perspective. What can we bring to bear, given modern technology versus some of our older UAS [uncrewed aerial systems].”

The only difference between the Group 4 and Group 5 drone categories is operating altitude, with the designs in the former tier not being able to fly above 18,000 feet.

“When you look at a CCA role for – really linked to rotary wing, that is a different dynamic than you have at 20-to-30,000 feet,” Brig. Gen. Phillips added at that time. “So it’s a whole set of different behaviors, a whole set of different capability you need to marry that up with an aircraft that’s flying at 100 feet, at 150-plus knots, at night. So that is what we’re really looking at, is what is the state of technology right now to develop a requirement that we can deliver.”

In the context of the U.S. Army, specifically, the concepts of operations Anduril has outlined for Thunder have also prompted comparisons to the previous pairing of Apaches with crewed OH-58D Kiowa Warrior armed scout helicopters. The Army retired the very last of its OH-58Ds in 2017 without a direct replacement. Several unsuccessful attempts were made before and after the Kiowa’s retirement to find a direct successor, the most recent of which was the Future Attack Recon Aircraft (FARA) program. The Army cancelled FARA in 2024 as part of a larger shakeup of aviation programs that put renewed emphasis on new uncrewed capabilities.

“We’re looking to recreate similar concepts to be able to enable deep strike missions, all the things that Apache was originally designed for with the Kiowa,” Anduril’s Arnott said.

Thunder, like the other designs emerging in space now, could also be of interest to the U.S. Marine Corps and U.S. special operations forces, which are facing the same kinds of operational realities. The Army’s elite 160th Special Operations Aviation Regiment is already in line to acquire a version of the MV-75, which could also benefit very much from a drone wingman able to keep pace in terms of range and speed. The 160th has already been working to expand crewed-uncrewed teaming concepts using its existing helicopters and the MQ-1C Gray Eagle drone.

This all goes beyond the U.S. military, too. Last year, the U.K. Ministry of Defense also picked Anduril and three other companies to develop drone demonstrators that could be paired with British Army Apaches. Anduril’s press release at the time mentioned a partnership on that effort, which is called Project NYX, with Archer Aviation and several other firms. Anduril has explicitly declined to confirm or deny whether Thunder is its offering for that program.

The Apache, in particular, has a substantial and still growing global operator base, opening the door to other potential customers for drones like Thunder. As already noted, uncrewed wingmen could be valuable for extending the operating reach and reducing the vulnerability of other helicopter types, too.

Anduril is clearly putting a major foot forward in this space with Thunder, and the detailed concepts of operations it already has in mind to go with it. At the same time, the company has never built a tiltrotor, let alone a full-size helicopter, at least that we know of, unlike some of the other companies already in this space. Pairing with Archer and Karem on this project does offer major benefits. Archer has yet to bring an aircraft to production, as well.

Still, these same issues were often highlighted when Anduril joined the competition for the extremely high-profile and critical first phase, or Increment 1, of the U.S. Air Force’s Collaborative Combat Aircraft (CCA) program. Anduril had submitted a design called Fury, which TWZ previously explored the full history of in an extensively detailed feature you can find here. Widely considered an underdog in the competition, Anduril was subsequently chosen as one of two firms in the final Increment 1 down-select, with the other being General Atomics. The Air Force has now decided to order production examples of both Increment 1 designs.

Now we’ll have to see if a similar story repeats itself for Thunder, as competition in the market space for drone wingmen for crewed helicopters and tiltrotors continues heating up.

Contact the author: joe@twz.com

Singer-songwriter Anaïs Mitchell first wrote the numbers for “Hadestown,” a folk musical based on Greek mythology, in 2006. Twenty years later, the Tony-winning smash musical comes to the big screen in a version filmed on the West End in 2025, directed by Brett Sullivan. The production reunites the original Broadway cast — André De Shields, Patrick Page, Reeve Carney, Eva Noblezada and Amber Gray — six years after the show debuted and swept the Tonys in 2019.

There is a timelessness to Mitchell’s work, thanks in large part to the ancient source material, the myths of Orpheus, Eurydice, Hades and Persephone. Developed in partnership with Rachel Chavkin, who directed the Broadway show, the action is set around the 1930s in the American Deep South. The story expresses evergreen themes of love, sacrifice, oppression, addiction and devotion, juxtaposing the tragedy of the way things are against a hope of the way they could be.

There are moments when Mitchell’s songs feel eerily prescient: The show’s villain, Hades (Page), rules the underworld of Hadestown as a fascistic industrialist; his Act I closing number is titled “Why We Build the Wall.” Factory workers sing back to him, “We build the wall to keep us free,” a chorus that foretells the Trumpian rhetoric of 2016 and a reminder that these patterns of division and otherization are the eternal tools of the oppressor.

“Hadestown” is a love story first and foremost, set in a joyous juke joint, the band ringing the stage. The camera follows our narrator, Hermes, played by American theater legend De Shields, as he takes the stage, kissing the heads of his company.

But the show doesn’t start until the 79-year-old De Shields nattily flips his jacket open, to the approving roar of the audience. He introduces doomed Orpheus (Carney), “touched by the Gods themselves,” a born yearner with a gift for song. When Eurydice (Noblezada), a scrappy, skeptical slip of a girl, rolls into town, Orpheus instantly falls head over heels. They have nothing except each other, their love symbolized by a red flower that Orpheus offers.

Party girl Persephone (Gray) brings the summer fun, but her jealous lover Hades wants to keep her all to himself in his domain, trapping the world in a long winter. Orpheus promises to write a song to summon spring again, but a struggling Eurydice is seduced by Hades’ promises of security in Hadestown, and she descends with him, signing her life away to work in his factory. Orpheus tries to rescue his love, but his faith in her is tested on their return to the top — if he turns back to see if she’s there, she’ll be banished to Hadestown forever.

Real-life couple Carney and Noblezada married several months after this production; they met at Noblezada’s audition. Their chemistry makes the emotional devastation of this tragedy that much more real: Every main actor sheds a real tear over the course of the show. Carney’s unique tenor ranges from Jeff Buckley to Freddie Mercury; his rock background and skill with the guitar is required for Orpheus’ lyre-playing and lends to the folk roots of Mitchell’s songs.

Cinematographer Clayton Jacobsen captures unexpected camera angles that a theatergoer wouldn’t get (even one with decent seats), both from down below in the circular pit and above it. He sends the camera soaring over the heads of the audience into intimate medium shots. Sullivan makes the animated and often rowdy crowd an integral part of the cinematic experience, including an extended curtain call with De Shields toasting the audience, sending them out with the warmth with which he brought them in.

There is such a temporal quality to theater, a shared moment in time and space. This production feels like a fleeting moment — a reunion of friends and collaborators retelling a myth that is recounted over and over again. “It’s a sad song, but we sing it anyway,” Hermes reminds us, and it’s a sentiment worth repeating. There may be tragedy, but the summer will inevitably return.

Waving a Mexican flag with a vaquero sombrero on, El Malilla made history at Coachella last year as the first reggaeton Mexa act on the lineup.

To keep the momentum going, the rising Mexican star had planned for his first U.S. tour to take place last summer. After the Trump administration ramped up the ongoing ICE raids around the same time, El Malilla decided to put the safety of his fans first and postpone the tour.

“With what was happening with Mexicans and immigrants — the big problem being ICE — I decided to pause the tour, because I didn’t feel comfortable exposing my fans to that kind of situation,” El Malilla says over Zoom from his home in Valle de Chalco. “For me, it was important to bring this tour to the U.S., but in a safe way without putting anyone in harm’s way.”

After wrapping up the Mexican leg of his “Tu Maliante Bebé” Tour, El Malilla, who was born Fernando Hernández Flores, is now preparing to bring his show to the states. The 19-show trek will kick off July 24 in Palm Springs, followed by a concert at The Novo in Los Angeles the next day.

Mexican artist El Malilla.

(Joss Andreu)

“The Novo is very important for me because it’s going to be my biggest venue for this U.S. tour,” he admits. “To see how Los Angeles has adopted me, embraced me, and shown me love, I’m going to feel like I’m home.”

Following his Coachella debut, El Malilla has pushed reggaeton from Mexico into the mainstream. He imbues the genre with Mexican swagger, slang and sex appeal in his explosive hits such as “B de Bellako,” “Mami Tú” and “Balenciaga” featuring corrido singer Luis R. Conriquez.

Since then, El Malilla has expanded the scope of reggaeton Mexa following collaborations with Puerto Rican pioneers such as Jowell y Randy and Colombian superstar J Balvin. The perreo heartthrob is also tapping into new genres for his upcoming sophomore album. In an interview with The Times, El Malilla opened up about leading the reggaeton Mexa movement and what to expect from his tour.

How do you feel about representing Mexican culture and reggaeton Mexa with this tour in the U.S.?
I feel very happy to bring a bit of our culture, our slang, our sound and our essence to the U.S. for my fans that haven’t had a chance to see a show of mine. Something that’s very crazy for me is when I performed in Chicago last year, there were people with signs that said they were from different places in Mexico like the State of Mexico. It made me very nostalgic to know that I’m also from the State of Mexico and we’re here. It’s important for me to represent our roots. Get ready, because I’m coming with perreo sucio. [Laughs.]

What do you think when you fans always ask for you to take off your shirt at your concerts?
It makes me laugh because when I sing “Rodillas,” people start screaming for me to take off my shirt. My show lasts like two hours and that’s barely the first song. I enjoy it, because I consider El Malilla to be a showman. I love to be onstage and have fun with my fans. Though some people might see me as a sex symbol, I don’t see myself that way, but to each their own.

What does it mean for you to be breaking down barriers for reggaeton Mexa?
It makes me very happy. I’ve been thinking about that recently. When would you think that an iconic pop star like Danna would collaborate with an iconic chacalón [Mexican slang for “bad boy”] like myself? That never crossed my mind before, but now in 2026, our reggaeton, our essence and our sound has become important in Mexico and even more so on a Latino level. Now everything is possible. There [are] no longer barriers for reggaeton Mexa, or for Mexican singers. Today, your biggest dream is possible.

Who else would you love to collaborate with in the future?
Lately, I’ve spent more time in the U.S. and I’ve been soaking up more English music. I discovered that I really like The Weeknd. A collaboration with him would be crazy! I returned to Coachella this year to sing with Cachirula & Loojan … and to be able to see Justin Bieber live was incredible. I would love to collaborate with him. On the Latin side, I would love to collaborate with Nsqk, De La Ghetto, Ñengo Flow or a reggaeton pioneer like DJ Blass.

What’s the process been like working on your next album?
I spent a year and a half working on this album. I enjoyed that process so much. Music has given me so much that this album is my way of repaying music for all the blessings it’s given me. You’ll be surprised at what I’m capable of. This is a Malilla that’s now 26 and a little more mature. It’s a more experimental and professional Malilla. I had never made a bolero song and I dared to do that this time. I did my research by listening to Luis Miguel, José José and singers and genres that I wasn’t used to listening to. I found love for those genres and singers. It was a very fun and cool way for me to explore different genres.

WASHINGTON — For Mary Fisher–mother, artist, philanthropist and HIV-positive woman–the moment is now.

She tries hard not to think about the future: her future, or the possibility that her children will face their future without her. When she feels the fear, it comes “in that reflective place you find yourself in at night, when you’re forced to find a quiet time,” she said.

“I allow my work and my children to fill my time, so I don’t have to think about those things on a daily or hourly basis,” she said. “I couldn’t get through the days if I did.”

Nor does Fisher dwell on her medical situation with her two young sons, who are now 6 and 4. Neither of them is infected with the human immunodeficiency virus, which causes AIDS.

“The best thing I can do for them is be with them, look them straight in the eye, answer their questions as best I can and be here, be involved in their lives as best I can,” she said. “They know I have a disease. I don’t know if they’re relating it to what their dad had–and I don’t know if I want them to relate to it, because I’m not sick.

“I don’t want to instill my fears–if I have them–in my children,” she added.

It has been nearly two years since Fisher, 45, seared the public consciousness with her speech before the Republican National Convention.

Standing before her fellow Republicans, she spoke in calm, gentle tones–but delivered a personal story that shocked the hall into silence.

“I think she reaches people that activists like myself can never reach, which is people who respond to maternal warmth and not to yelling,” said playwright Larry Kramer, a close friend of Fisher’s who is a founding member of ACT UP (AIDS Coalition to Unleash Power).

“That’s why she is as important as we are, maybe more so,” he said. “We’re a funny pair because she’s always saying to me: ‘Larry, I wish I had some of your anger.’ And I’m always saying to her: ‘Mary, I wish I had some of your compassion.’ I see her speeches on TV and say: ‘Mary, why don’t you get angrier?’ And she says: ‘Larry, I can’t.’ But I think she’s exceedingly effective being as she is, and I don’t want her to change a decibel.”

Fisher challenged the Republican Party to confront the AIDS epidemic with candor and compassion and to make the issue its own.

Since then, she has traveled the nation, speaking in churches, schools, prisons–wherever there is an audience that can learn from her message: If it can happen to me, it can happen to you.

In many quarters, “people perceive AIDS as a depressing subject and don’t want to take personal responsibility,” Fisher said from the home she now rents in a Maryland suburb outside Washington, where she moved her family from Boca Raton, Fla., last summer.

“They try to make me an exception,” she said. “I am not unusual. I am unusual only because I am speaking out. . . . The point is, there are a lot of me’s out there, women with small children who are (HIV) positive, women who are devastated, women who are scared to talk about it. I know, because they come to me when I am traveling. It’s truly amazing.”

In some ways, Fisher is wrong–she is unusual in the framework of the AIDS epidemic: She is wealthy — the daughter of longtime GOP fund-raiser and Detroit real estate mogul Max Fisher — and she works for herself at home (she creates art using handmade paper) so she has no “workplace problem” with AIDS.

And she has enough money to keep her children sheltered, although she has not isolated them.

Moreover, she is a longtime Republican with impeccable political credentials and connections.

Fisher includes former Presidents Gerald R. Ford and George Bush and their families among her closest friends. She once worked in the Ford White House, and photographs of Ford and her two sons, Max and Zachary, adorn her living room.

But AIDS is the great leveler, so she is also right–in many ways, she is no exception at all.

Fisher was infected by her former husband, Brian Campbell, who reportedly was at one time an intravenous drug user. He has since died of AIDS. Women infected through heterosexual contact have become a rapidly growing population.

Fisher said it took a long time for her to come to grips with her infection–and to speak about it.

“The discovery that we are HIV-positive tends to divide our lives into ‘before’ and ‘after,’ ” Fisher wrote in a newly published collection of her speeches, “Sleep with the Angels,” subtitled, “a mother challenges AIDS.”

The book, she says, “is not just about AIDS, it’s about children. It’s about religion. It’s about how we as a people deal with each other, and it’s about my life, my relationships with others and the unconditional love that’s out there.”

Kramer, who is quick to criticize others involved in AIDS activities, has only praise and affection for Fisher.

“It’s impossible not to like Mary because she is so caring and loving and motherly and interested, and because she puts her arms around you and gives you wonderful hugs,” he said.

Fisher learned in July, 1991, that she was infected, but she said it took six months before she was ready to tell her story publicly.

After she did, and after she spoke to the GOP convention, Bush appointed her to the now-defunct National Commission on AIDS, replacing Earvin (Magic) Johnson, the HIV-positive retired Los Angeles Lakers star who quit over what he said was an unresponsive Administration.

Fisher also founded the Family AIDS Network, a nonprofit organization dedicated to raising AIDS awareness nationwide.

The network, she says, plans to give “care-giver” awards this spring because “they are the people who take care of us. They are the people who do not leave this epidemic.” She also said she hopes that the organization can raise enough money for small AIDS research grants.

Currently, Fisher has no symptoms and takes no AIDS medication. “I feel really healthy, and am doing fine,” she said. “As far as I know, everything is good.”

Fisher said she intends to keep doing everything she is doing for as long as she can, speaking quietly and forcefully about the epidemic to whoever will listen.

“If we can create a dialogue and keep it going, I believe it’s the only way we can make a difference,” she said.

Cadence Design Systems (CDNS) and Synopsys (SNPS) shares sank on Friday after Chinese artificial intelligence lab Moonshot released its Kimi K3 AI model, causing investors to fear risks about the electronic design automation business.

However, BNP Paribas said it believes the

SACHA Baron Cohen has brought back the iconic Ali G character at Wimbledon ahead of a new film.

Sacha, 54, first played faux-streetwise poseur from Staines in 1998 on The 11 O’Clock Show before landing his own series, Da Ali G Show.

Sacha last played Ali G in 2014 but at the men’s singles final at Wimbledon on Sunday, the star resurrected the character.

Sitting in Centre Court, Ali wore a Wimbledon-coloured tracksuit with the motif ‘Official Ganja Dealer’ on the back, hat, heavy gold chain and glasses, Sacha sported his alter ego‘s facial hair, and attitude.

Ali also joined Instagram to share videos from the tournament and said: “I iz BACK!

“And if u iz at dis borin wimbledore final lookin 2 get grand slammed, I iz here wif de hookup.  dm me, especially if u iz fit.”

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He also shared a shot of a DVD of his TV series and wrote: “dm me if u want to buy one of these DVD box sets.

“Me iz got like 10,000 of dem. Dey iz very rare. Free pickup in the northwest surrey area.”

Sacha’s appearance at Wimbledon as Ali G comes as he prepares a new film for his comic creation.

While few details are known at the moment, in July last year, The Sun exclusively revealed pictures of Sacha in character as Ali as he filmed in a Cotswolds zoo park.

A passer-by who saw the filming in ­Chipping Norton, said: “He was with a whole film crew and was in full character.

“He seemed very comfortable in the role. I was amazed, I thought to myself ‘that’s Ali G’.

“He clearly updated Ali G’s ­wardrobe. He’s replaced his tracksuit and skull cap, but he still had gold jewellery and tinted shades.”

As well as Da Ali G Show, which ran for three series until 2004, he also had a film, Ali G Indahouse, in 2002.

EastEnders have brought back two characters, whose return are set to shake things up for the rest of Walford as one threatens to kill his rival amid family troubles

EastEnders have welcomed back some iconic characters to the Square. Original character Sharon Watts (Letitia Dean) and killer Ravi Gulati (Aaron Thiara) returned in Thursday’s episode – and both of them have bad news for their fellow Walford residents.

Sharon’s return was revealed early on in the episode, when her brother, Zack Hudson (James Farrar), came home to see her in the hallway.

Zack was delighted to see his sister, as was her ex Phil Mitchell (Steve McFadden), who helped Sharon organise the surprise. But things soon turned sour between Sharon and Phil as she announced that she was selling her share of their boxing gym.

Shortly after, Ravi’s return was also aired. He was seen getting out of a car after almost running over his ex Priya Nandra-Hart (Sophie Levy). Ravi made it clear that he wanted to get back together with Priya and be a proper dad to their children again, but Priya wasn’t having it.

She stormed off and when he caught up to her, Priya berated him for leaving her. Ravi said that he was “ill”, having only recently left a mental health ward, but Priya fumed that she had stood by him and raged that he slept with her before breaking up with her when he left the hospital.

When Ravi insisted that Priya must care about him or she wouldn’t have sent him a picture with her new man in the background, she suggested that she’d moved on from him.

Unbeknownst to Ravi, his rival for Priya’s attention is Max Branning (Jake Wood). But that didn’t stop Ravi from issuing a threat. He told his stepmother, Suki Panesar-Unwin (Balvinder Sopal) that he wasn’t going to let anything get in between him and his family and if that man tried, he would kill him.

Following Ravi’s threats, some fans suggested that he might be the mysterious gunman who holds Max’s children hostage at New Year.

The gunman was first seen during the flashforward on 1 January 2026, holding Lauren (Jacqueline Jossa) and Oscar (Pierre Counihan-Moullier) at gunpoint before telling Max to choose one to save.

One fan wrote: “It’s either setting things up for NYD already (and my theory about Ravi being the gunman being correct) or the biggest red herring.”

A second said: “The nerve of wanting Priya back when he’s treated her like dirt! And issuing death threats… They are trying to sell him as the gunman.” A third asked: “So the gunman in the flash-forward is gonna be Ravi huh?”

The gunman’s identity is one of many mysteries ahead of New Year. Fans had also been wondering who Max would be marrying on that day, but that has since been confirmed as Cindy Beale (Michelle Collins) who is not only engaged to Max, but who booked their wedding venue for New Year’s Day in Thursday’s episode.

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STACEY Solomon made it a real, er, family affair on Sunday as she headed to Silverstone for the British Grand Prix with her husband Joe Swash and her ex, Dean Cox.

The TV personality shares eldest son Zachary, 18, with Dean, whom she had a romance with as a teenager.

Before heading to the F1 event, Stacey told fans she was going on a ‘special date day’ with husband Joe.

And when they arrived to Silverstone, the star filmed herself walking in as she explained that the couple had also brought along her dad – a big racing fan – for the fun.

“It’s not a date day without bringing your dad,” laughed Stacey as she dubbed Joe a ‘third wheel’.

She then revealed that it wasn’t just her dad who was there, but her ex Dean, too.

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“Do you know who is really important to bring on a date day with your husband? Your last baby daddy and his wife,” said Stacey as she filmed herself with Dean.

Laughing, she panned the camera through the group and said: “Zach’s dad, Zach’s stepmum, my dad are all on this date with us.”

“Gooseberry,” said Joe as he interjected while laughing.

As well as Zach, Stacey is a mum to son Leighton from another previous relationship, and shares three children with Joe.

She has maintained a strong co-parenting relationship with Dean since they welcomed Zach as teenagers.

He even appeared on her TV show, Stacey & Joe, for a one-off as they discussed her teen pregnancy.

The racing reunion comes just days after Stacey revealed their son Zach has headed off to America for the summer.

The teenager has moved stateside to take part in Camp America, with his famous mum admitting it ‘hurt her heart’ to drop him off at the airport.

She said in an Instagram post: “It hurt my heart to drop you off this morning but I know you’re going to have the best time ever, and that camp is so lucky to have our Zachary in their lives for the summer.

“Good luck my darling boy. To the moon and stars and back again.

“Please tell me why I really wanted him to do this experience & I am so happy for him but also so my gut is in knots??”

The blush of first love inside the glow of new friendship is where “Girls Like Girls” works its easygoing charms, but also an affecting sadness. You’d never mistake multihyphenate pop star Hayley Kiyoko’s directorial debut for a groundbreaking queer romance, but sometimes the best summer vibes require only a breezy intoxicant, something made of all the funny feelings, a few of the deeper ones and a lot of heart.

That also describes Kiyoko’s shepherding of her hit 2015 track “Girls Like Girls,” a hooky LGBTQ+ anthem that went from viral music video (which she co-directed) to bestselling YA novel and finally this feature adaptation, written with Chloe Okuno and Stefanie Scott (the original video’s star). “Girls Like Girls” may be conventionally imagined, but there’s an admirable focus on unadorned warmth in Kiyoko’s storytelling: She likes her girls and cares enough to want us to like them, too.

We’re dropped in picturesque rural Oregon, where we find bike-riding new kid in town Coley (appealing newcomer Maya da Costa), who happens upon an energetic crowd of peers at a local diner, then gets asked to join them for a lake excursion (“We don’t bite”) by confident and friendly Sonya (Myra Molloy). When Coley, a shy, watchful sort, gets thrown in the water by obnoxious Trenton (Levon Hawke), she tries to leave, but not before Sonya softens the blow by insisting on a “proper hang” and the exchange of AOL usernames. (Because, oh, yeah, it’s 2006, giving us a refreshingly nostalgic break from the tyranny of smartphones.)

Anyway, SonyeahXOXO and RollieColey87 take quickly to their obvious spark, initially sublimating that deeper attraction through scenes of laughter, teasing, the rush from shoplifted alcohol, bed-sharing and lots of deep gazing. But they also lean into a connection marked by honesty and vulnerability, particularly Coley’s grief over losing her mom and not feeling connected to her widowed dad (Zach Braff). With Sonja Tyspin’s cinematography imbuing an innocent, sensual curiosity, Kiyoko sweetly conveys the awkward thrill of fledgling emotions. One scene in particular, in which Coley explores Sonya’s room, touching everything, hums with the strange excitement of being a specially invited new confidante.

But the day after the pair’s unspoken attraction becomes physical — a scene deftly stretched to “Kiss already!” limits — a confusing tension enters the chat, triggering a tailspin of self-doubt in Coley. A lesser film might have pivoted toward assuring us of a happy makeup, but “Girls Like Girls,” which stays centered in Coley’s POV, understands that at the crux of her pain is an untended self-acceptance that must be addressed first. Da Costa realizes that journey with unforced naturalism, as if the camera just happened to be there to capture it. (Molloy betrays a more studied star wattage, but she’s nevertheless a solid other half.)

Mostly, “Girls Like Girls” wins us over with a singular type of first-film assuredness: a familiar story presented as the most personal reveal ever. If you can’t remember what it was like to try to tiptoe while swooning, your heart barely able to stay in your chest, you were never a teenager.

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.

ICYMI

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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.”