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John Williams returns to North Hollywood High, which honors him with new performing arts center

“Curly” Williams returned to his old high school campus last week for the first time in 76 years, but did so under his given name — the same name emblazoned on North Hollywood High’s newest attraction: the John Williams Performing Arts Center.

Williams, 94, attended the ribbon-cutting ceremony last Wednesday, which commenced with the composer’s rousing “Raiders March” played by the school’s marching band and accompanied by its blue-clad cheerleaders.

For the record:

9:37 a.m. May 4, 2026A previous version of this article said Michael Stebbins designed the John Williams Performing Arts Center. The center was designed by CO Architects. Stebbins served as project manager

“I think you played that better than we could have,” Williams said, speaking from a wheelchair under the sign of his namesake venue in front of other accomplished alumni and friends, including producer Kathleen Kennedy. “That’s a hard piece.”

The ambitious construction project, initiated in 2015 and designed by CO Architects occupies 35,000 square feet and seats 800. Michael Stebbins, project manager for the BroadStage in Santa Monica, served as project manager. The center is equipped with state-of-the-art amenities to host student performances and school assemblies, but also to train the next generation of theater technicians. Besides an enormous stage, blue velvet curtains, a mixing console and safe catwalks, the building also features new classrooms and rehearsal spaces.

A crowd in a theater.

Students, faculty and guests stand for the national anthem before a concert inside the new John Williams Performing Arts Center, named for one of North Hollywood High’s most famous alumni.

(Genaro Molina / Los Angeles Times)

A 75-foot hand-painted mural in the lobby, still in the works by artist Ian Robertson-Salt, is inspired by Williams’ formidable filmography, which serves “as a daily reminder to every student who walks these halls that greatness can begin right here,” remarked Andrés Chait, acting superintendent of Los Angeles Unified School District.

Due to health complications, Williams has made few public appearances in the last two years. He last conducted a concert in February 2024 — and he has also consistently turned down requests to name buildings after him, including at his beloved Tanglewood in Massachusetts, although the Hollywood Bowl did recently name its stage for Williams. It’s a testament to his affection for his time at North Hollywood High, and his regard for the next generation of students, that he not only blessed this dedication but showed up and spoke to a gathered crowd of hundreds.

“I’m sort of silly happy to be here,” he said, calling the dedication “a singular honor in my life.”

Other showbiz alumni on hand included “Beauty and the Beast” producer Don Hahn (class of ’73), “Independence Day” writer-producer Dean Devlin (’80), and Rob Friedman (’81), CEO of Ascendant Entertainment. Partly due to its proximity to the entertainment industry, North Hollywood High has produced a host of famous artists over the decades, including the late Michael Tilson Thomas, who attended in the early 1960s.

A man claps.

John Williams smiles while applauding a performance by the North Hollywood High School band at the dedication ceremony of the John Williams Performing Arts Center on campus.

(Genaro Molina / Los Angeles Times)

“At some point you have to stop calling that a coincidence,” said Kennedy, a longtime collaborator of Williams who gave brief remarks before handing him the microphone. “Something happened here, and something can happen again.”

Williams moved to North Hollywood with his family in 1947, having grown up in Queens. He transferred to North Hollywood High as a 15-year-old sophomore, and joined the band and orchestra as a jazz-loving trombonist. His classmates included Susan Sontag (“I remember her teaching a class in civics, when the teacher would sit down and listen to her,” he told me in 2023) and many future actors, including Barbara Ruick, who played Carrie Pipperidge in “Carousel.” But his best friends were all music-inclined guys whose dads, like his, were famous musicians.

A poster board featuring a young John Williams.

A poster board featured yearbook photos of John Williams, left, performing with the North Hollywood High School Band, class of 1950, in the lobby of the new John Williams Performing Arts Center on the North Hollywood High School campus.

(Genaro Molina / Los Angeles Times)

Williams embraced the nickname “Curly,” given to him by a fellow student in response to his curly red hair, and quickly created his own jazz band with classmates. Ruick sang with them at school events and dances, and they became the house band at a new teens-only venue in Van Nuys called the Dri-Nite Club. Broadcast on local radio, they caught the attention of Time magazine, which ran a story on “Curly’s” band in October 1949.

An old newspaper story.

A newspaper story about John Williams’ high school band from the Los Angeles Unified School District’s archives.

(Los Angeles Unified School District)

Williams has said he fondly remembers his civics and French classes at North Hollywood High, but his time and passion were almost exclusively devoted to music. He rigorously practiced the piano at home, studying with a local concert pianist and MGM arranger named Robert Van Eps; on Wednesday nights he played in jam sessions with his father (Johnny Sr., a drummer) and the Columbia Pictures orchestra. He bopped around clubs in L.A. listening to jazz greats like Oscar Peterson (whose style influenced Williams’ recent piano concerto), and started making a name of his own as a wunderkind performer and arranger.

Long before he scored “Star Wars” or “Harry Potter,” Williams did his earliest arranging and orchestrating for theater productions at North Hollywood High. The impact of his time at North Hollywood High cannot be overstated.

John Williams featured with members of the class of 1950 in the North Hollywood High School Yearbook.

John Williams featured with members of the class of 1950 in the North Hollywood High School Yearbook.

(Los Angeles Unified School District)

During his remarks about the performing arts center on Wednesday, Williams said he felt particularly overwhelmed because the school was “formative in my thinking and my professional work … This is a great, magical place, North Hollywood.”

Williams eventually married Ruick, his high school sweetheart and mother of his three children. Ruick was instrumental in making many of Williams’ earliest career connections. She died from a brain aneurysm in 1974, at the age of 41, just one year before Williams’ career catapulted with “Jaws.” The couple’s youngest son, Joseph, lead singer of Toto, stood proudly behind Williams during the theater’s dedication.

The John Williams Performing Arts Center (JWPAC) is the crescendo of a $319.5 million modernization project at North Hollywood High, which also includes modern classrooms and athletic facilities. It’s a reflection of the diverse public school’s commitment to the arts; students here can play in the orchestra, marching band or modern band, and study drama or modern dance.

“As I think about what else I might say to all of you younger people, students here,” Williams said at his homecoming Wednesday, “two words about this beautiful building: simply use it. Make sure you all use the place.”

Tim Greiving is the author of “John Williams: A Composer’s Life.”

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Yes, goth yoga is a thing — and it’s thriving in a Burbank occult shop

It’s 7:50 p.m. on a Tuesday as I enter the dimly lighted metaphysical supply store the Crooked Path. Even inside, it almost looks closed; I barely see the crystal-necklace-studded walls, the bowls of runes and bins of long, black candles around me. Half-filled glass jars (perhaps potions?) sit beyond the store’s elongated bar — the apothecary — where a silent man in black points me past Egyptian deity figurines and a large python named Drakina to … my yoga class.

The backroom that Goth Yoga LA calls home is all black paint, purple lights and sage-y smells; music growls ominously from the speaker system above. Devotees gather for the intimate, pay-what-you-can classes, held at 6:30 and 8 p.m. on Tuesday and Thursday nights. It feels like an open mic night in the Upside Down — and yes, everyone is wearing all black. Everyone but Goth Yoga LA’s leader, Brynna Beatnix. Tonight, Beatnix is giving more Y2K occult-glam. She chats with one heavily-tattooed man stretching in the corner, and welcomes in an older woman in heavy eyeliner who tentatively peeks inside. Is she in the right place? Of course she is.

Students take part in a Goth Yoga LA class, complete with burning incense.
Students take part in a Goth Yoga class.
Students take part in a Goth Yoga class.

Students take part in a Goth Yoga LA class, complete with burning incense.

Goth Yoga LA’s masterminds are Beatnix and her partner, James David (who DJs each class). The couple has been active in L.A.’s goth/alternative music and event scene for years, co-creating the popular outdoor roller disco event Skate Oddity during the pandemic. This “goth club on wheels,” brought an inspiring blend of physicality, niche goth music and connection to alt-Angelenos at their most isolated.

As Skate Oddity (and athletically-forward goth events like it) became more popular, so did some pretty gnarly injuries. As a response, Beatnix began hosting communal stretching sessions before the event, complete with vibey dark ‘80s, goth and post-punk soundtrack. “It started as a gathering,” Beatnix said. “And with James and my background in nightlife and music, it gained momentum and grew.”

Soon, Beatnix got her yoga certification and a couple of her goth friends, Sal Santoro and Popi Mavros, offered the backroom of their Burbank-based occult store, the Crooked Path. And from the shadowy, crystal-studded darkness Goth Yoga LA was born.

Brynna Beatnix's classes are defined by deep stretches and dark sounds.

Brynna Beatnix’s classes are defined by deep stretches and dark sounds.

DJ James David provides the music for Goth Yoga LA classes.

DJ James David provides the music for Goth Yoga LA classes.

Beatnix and David created and practice Goth Yoga LA much like yoga itself — slowly, with intentionality. It took them years to fuse music and movement to “get the space right,” and they hope that the result helps participants’ mental health. “The music and the alternative world can already be a coping mechanism. Well, yoga is also a great coping mechanism. So let’s combine the two.”

What resulted is an intimate, therapeutic yoga class shrouded in darkness (literally), where goths, alts, punks — anyone feeling outside of the norm — can work through “heavy feelings” via moody vinyasas. “It just feels really nice to be in a room of people who are kinda literally leaning into the discomfort of being in the chaos of the world right now,” says Heather Hanford, a regular at Goth Yoga LA.

For many, it’s not just about mental health but simply a more welcoming alternative to the Lululemon-coded homogeny of L.A.’s wellness culture. “Some people feel scared of going to traditional yoga studios. One, the prices are really high. Or they don’t really feel accepted there,” Beatnix says. “I’ve even had guys be like, I’m scared to go, because people are going to look at my tattoos and think that I’m a satanist and stare at me.”

Goth Yoga LA participants hold their hands in prayer.

The intimate Goth Yoga LA classes are distinctive because they are mostly shrouded in darkness.

And, of course, it’s not just for goths. Class participant Hanford, who identifies as a neurodivergent non-goth, experiences Goth Yoga LA as much more regulating than a mainstream yoga class. “The lighting and mood music makes it easier to focus on the internal experience than other classes I’ve taken,” she said. “Either intentionally or not, really helps minimize sensory overload.”

As we cat-cow to the Cure, the irony that goth yoga is more approachable, more calming and far less expensive than most traditional classes isn’t lost on me. With its donation-based entry, alternative clientele and bespoke DJ experience, Goth Yoga LA is like the anti-yoga of L.A’.s yoga scene. “I didn’t particularly want to rebel against the yoga studios, I just … am,” Beatnix tells me later. “We just saw something that didn’t exist, and wanted to create it.”

I know the class is coming to an end as ambient noiserock leads us into corpse pose. I inhale, letting new smells — something minty and palo santo-y, maybe? — waft over me. Now back into our original sitting positions, I’m not expecting a namaste. No, I have been warned this class concludes … differently than most.

Goth Yoga LA class participants Ellie Albertson and Jenn Rivera recline in corspe pose.

Class participants Ellie Albertson and Jenn Rivera recline in corpse pose.

In Sanskrit, namaste translates to mean “I bow to you,” or, ”the light in me honors the light in you.” It is meant to be an invitation: a means of being deeply and profoundly seen.

“But that’s just ignoring the dark,” Beatnix says. In her opinion, to truly be seen we must acknowledge our alternative natures, our shadow sides, the otherness of our beings. “My ending is — and it ranges class to class — but generally I say, ‘the darkness in me honors and acknowledges the darkness in each and every one of you.’ We have both light and dark. We are both.”



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Ford Class Review Puts Navy’s Future Carrier Plans Into Question

Secretary of the Navy John Phelan says his service is looking to wrap up a review of its aircraft carrier plans within the next month or so. The Navy has been taking a deep look at the design and capabilities, and associated costs, of the Ford class as compared to the older Nimitz class. The question has been raised about whether this might point to a major shift in the service’s carrier acquisition strategy on the horizon, including the potential cancellation of planned orders for more Ford class ships and even a transition to a new design.

Phelan talked about the carrier review yesterday at a roundtable on the sidelines of the Navy League’s Sea Air Space 2026 exposition. When asked, Phelan said that there was nothing in particular about the Ford class that prompted the Navy to take a new comprehensive look at the program and that the service is looking for ways to cut costs and be more efficient across the board.

A key question the review has been focused on is “are we getting the appropriate bang for our buck, i.e., how superior is the Ford [class] to the older Nimitz class, etc,” the Navy’s top civilian leader said. “To be honest, we’re reviewing every program, so it’s – carriers [are] just one of them.”

A stock picture of the USS Gerald R. Ford. USN

That being said, President Donald Trump has been a vocal critic of the Ford class, and its electromagnetic catapults (also known as the Electromagnetic Aircraft Launch System, or EMALS) and weapons elevators in particular, which have faced serious reliability and maintenance issues. Last October, he pledged to sign an executive order that would compel the Navy to go back to using steam-powered catapults and hydraulic elevators on new aircraft carriers, which has yet to materialize. Two months later, in announcing plans for the Trump class “battleship,” the President also said that “we have the Ford class. We’re going to be upping that to a different class of aircraft carrier,” but did not elaborate.

Electromagnetic Aircraft Launch System (EMALS) thumbnail

Electromagnetic Aircraft Launch System (EMALS)




Watch the Advanced Weapons Elevators on the aircraft carrier Gerald R.  Ford thumbnail

Watch the Advanced Weapons Elevators on the aircraft carrier Gerald R. Ford




Phelan’s comments yesterday about the ongoing review were prompted, in part, by a question about whether the Navy has actually been looking at acquiring a new class of aircraft carrier. There is no indication that this is the case currently. The service has explored alternatives to the Ford class, including smaller designs, on several occasions in the past decade or so.

“What I would say on the carriers is, we are looking at [CVN-]82 and [CVN-]83 to review the costs, the designs, the systems, to make sure that they make sense and they have all the systems and requirements that we want going forward,” Phelan explained. “I think it’s a prudent and practical thing for us to do, given the costs of them, as a percentage of the budget, and how we are thinking about the force design and our needs going forward.”

CVN-82 and CVN-83 are the hull numbers assigned to a pair of future Ford class aircraft carriers currently set to be named the USS William J. Clinton and the USS George W. Bush. Construction has not begun on either of those ships, and the Navy has not even awarded contracts yet to order them. The service is asking for advance funds to support the future procurement of CVN-82 in its newly released budget request for the 2027 Fiscal Year. The budget documents also still show plans to seek funding for CVN-83 in the coming years.

The USS Gerald R. Ford is the only member of its class currently in service. It is now in the midst of a marathon deployment that has lasted some 10 months already, the longest for any carrier since the Vietnam War. In its time at sea so far, the ship and its air wing took part in the mission to capture Venezuelan dictator Nicolas Maduro, and more recently supported operations against Iran. Ford suffered a fire in March, underscoring concerns about strains on the ship and its crew, as you can read more about here.

There are three more Ford class carriers in various stages of being built. The second ship in the class, the future USS John F. Kennedy (CVN-79), left port for the first time for initial sea trials in January and is set to be formally delivered to the Navy next year.

John F. Kennedy (CVN 79) Successfully Completes Builder’s Sea Trials thumbnail

John F. Kennedy (CVN 79) Successfully Completes Builder’s Sea Trials




Kennedy and all subsequent ships in the class are already set to have notable differences from Ford, including AN/SPY-6(V)3 radars in place of the design’s original Dual Band Radar (DBR). The immensely troublesome DBR is just one of a laundry list of issues that Ford has had to contend with over the years. The Navy has been trying to leverage lessons learned from those experiences to streamline work going forward.

However, Kennedy, as well as the next two ships in the class after that, the future USS Enterprise (CVN-80) and USS Doris Miller (CVN-81), have all continued to suffer further delays. As of last year, the estimated total procurement costs for Kennedy, Enterprise, and Doris Miller were nearly $13.2 billion, almost $14.25 billion, and just over $15.2 billion, respectively, according to the Congressional Research Service.

This, in turn, has created complications for Navy plans to begin retiring Nimitz class carriers. In May, the service announced it was extending the USS Nimitz‘s service life into 2027, in line with the latest delivery schedule for Kennedy.

The USS Nimitz seen underway in the Eastern Pacific Ocean in April 2026. USN

“So the President knows we’re reviewing it [the carrier plans], and want [sic] us to put in a review,” Phelan said. “And I think, like any businessman, he’s – okay, make sure you look at all these programs, understand the capabilities and what they’re doing.”

The Secretary of the Navy was asked what metrics the service might be looking at in order to assess the comparative capabilities of the Ford class and the preceding Nimitz class. Phelan was given, as an example, statements the Navy has made in the past about the new EMALS catapults offering improved sortie generation rates and reducing wear and tear on aircraft during launches.

“I think you’ll see the sortie rate come out and it will be eye-watering,” Navy Rear Adm. Ben Reynolds said just yesterday at the Pentagon during the rollout of the service’s proposed budget for the 2027 Fiscal Year, according to USNI News. “The capability is just absolutely incredible.”

Reynolds is currently serving as Deputy Assistant Secretary of the Navy for Budget and Director of the Fiscal Management Division within the Office of the Chief of Naval Operations.

USS Ford Launches, Recovers Fighters With Electromagnetic Aircraft Launch System (EMALS) thumbnail

USS Ford Launches, Recovers Fighters With Electromagnetic Aircraft Launch System (EMALS)




“So these are all things you’ve heard. These are all the same things I’ve heard,” Phelan said at the roundtable at Sea Air Space. “I go to the Ronald Reagan School of trust, but verify. That’s what I’m doing.”

“Trust me, we measure and monitor a lot of things in the Navy, including that – the airframes and how that works. So I think it’s a function of just understanding it, for example, is the sortie rate generation that much greater? And then what are the cost implications of this electric catapult, and did it really generate the savings?” Phelan continued. “You know, the Navy would like to say we’ve saved $5 billion in terms of savings in number [sic] of men and maintenance. I just need to check that back up, and that’s what I mean by that.”

“I think, like anything, it’s both understanding the cost-benefit analysis of it, because we really want to make sure we’ve got a good handle on the costs,” the Navy Secretary added. “I think one of the things we have to do a better job of in the Navy is kind of what I call total cost of ownership. So what does it really cost to sustain and maintain these things? I think we do a reasonable job at that, to be honest. But the infrastructure needs on these are also costs you have to understand going in.”

Another stock picture of the USS Gerald R. Ford. USN

As Phelan noted, the Navy has been conducting reviews of major programs across the service. The Navy Secretary has also shown a willingness to curtail high-profile, but seriously underperforming efforts despite high sunk costs. Last November, the service axed the Constellation class frigate program, long touted as a major priority, but which had become mired in delays and at risk of ballooning costs. Earlier this month, the Navy finally abandoned plans to return the Los Angeles class attack submarine USS Boise to active service, closing out a more than 10-year-long saga that had already cost it $800 million.

Yesterday, Phelan was also asked whether the Ford class could be curtailed as a result of the ongoing review. The possibility of truncating the program has been raised in the past.

“It’s too early to say, but we will have carriers. So, carriers are an important component to [sic] the force, and we will need that,” the Navy Secretary said. “I think it’s more, how do we figure out – like, again, this comes back to every program we’re looking at. What can we do to cut costs? What can we do to make this more efficient? What can we do to make the design more simple [sic]? What are the areas where we think we can save or not save?”

Even just cancelling future orders for Ford class ships would have major downstream impacts, including on the shipbuilding industrial base and its many suppliers. At the same time, the Navy’s shipbuilding priorities also now include the Trump class “battleships,” the first of which may cost $17 billion, according to the latest official estimates. If that price point holds, these large surface combatants will be more expensive than a Ford class aircraft carrier.

A rendering of the first Trump class large surface combatant, set to be named the USS Defiant, depicted firing various weapons. USN

“These are very important decisions to be made, and you’re locking into very big contracts and very big platforms that are going to be around for a long time. And so I just think we’re trying to make prudent decisions across everything,” he added. “I think what I found a little bit is, I have a lot of people who know how to do finance. I don’t have a lot of people who necessarily understand finance, understand incentives and deal structures, and that’s something we just need to fix.”

How the Navy’s plans for the Ford class, and aircraft carriers in general, may evolve going forward will likely become clearer after the current review is completed.

Contact the author: joe@twz.com

Joseph has been a member of The War Zone team since early 2017. Prior to that, he was an Associate Editor at War Is Boring, and his byline has appeared in other publications, including Small Arms Review, Small Arms Defense Journal, Reuters, We Are the Mighty, and Task & Purpose.


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Everything New We Just Learned About The Trump Class Battleship Program

The Navy’s top leadership says they are working hard to avoid serious issues that have plagued previous shipbuilding efforts when it comes to the Trump class “battleship” program. Senior officials have focused, in particular, on the need to have a very firm design before any work on the large surface combatants, the first of which could cost a whopping $17 billion, actually begins. A lack of a finalized design, along with repeated changes to it along the way, contributed heavily to the demise of the Constellation class frigate last year.

Editor’s note: As this story was being written, the Pentagon announced that the Secretary of the Navy “is departing the administration, effective immediately,” and that Undersecretary Hung Cao will take over as Acting Secretary of the Navy. No reason for the change in leadership was immediately given.

Chief of Naval Operations (CNO) Adm. Daryl Caudle and Secretary of the Navy John Phelan both discussed the Trump class battleship, also known as the BBG(X), at separate roundtables on the sidelines of the Navy League’s Sea Air Space 2026 exposition this week. President Donald Trump had officially rolled out plans for the Trump class, the first of which is currently set to be named the USS Defiant, last December.

A previously released rendering of the Trump class battleship, the first of which is set to be named USS Defiant. White House/USN

“I think it is a necessary element to the force,” and “I think it provides real flexibility to the force,” Secretary Phelan said about the BBG(X) effort at his roundtable.

From what the Navy has shared so far, the Trump class warships will displace approximately 35,000 tons, very roughly three times that of the newest Flight III subvariant of the Arleigh Burke class destroyer. They will also be between 840 and 880 feet long, have a beam (the widest point in the hull) between 105 and 115 feet, and be able to reach a top speed greater than 30 knots. The armament on each of the ships will include a mix of nuclear and conventional missiles, including hypersonic types, loaded into large vertical launch system (VLS) arrays. They will also have an electromagnetic railgun, a pair of traditional 5-inch naval guns, laser directed energy weapons, and various additional weapons for close-in defense.

An annotated graphic highlighting various capabilities set to be found on the Trump class design. Note that the mention here of “28 Mk 41 VLS” cells appears to be a typo, as other official information from the US Navy says the ships will have 128 such cells. USN via USNI News
A graphic detailing the current expected specifications of the Trump class design. USN via USNI News

Navy officials also provided additional details about the costs and production schedule associated with the Trump class during yesterday’s rollout of the service’s proposed budget for the 2027 Fiscal Year. As it stands now, the Navy is looking to order the first of three of these large surface combatants in Fiscal Year 2028, at an estimated cost of $17 billion. The Navy is currently projecting it will spend $43.5 billion on the program, overall, across the next five years. As a point of comparison, the estimated total procurement costs of each of the next three Ford class aircraft carriers range from roughly $13 to $15 billion.

The $17 billion figure “is the early initial estimate. We’ll see where we really settle down as we get through that and start to rationalize some of the costs,” Secretary Phelan noted at his roundtable at Sea Air Space. “So, let’s see where we land on that first ship, and then what the economies of scale get us to as we move through it.”

The Navy has already started “talking to two different vendors” about actually building the Trump class warships, he added. “Then it’ll be a function of how we get through that design process with them, and then their capacity in their yards, what we think they can do. Because we’re looking to really get moving on this and lay the keel in [20]28.”

A model of the Trump class design, also known as BBG(X), on display at the Surface Navy Association’s (SNA) annual symposium in January 2026. Eric Tegler

The Secretary of the Navy and CNO Caudle have made clear that the BBG(X) design is still in the very early stages of being formulated. The ships are also set to incorporate a host of advanced capabilities, many of which, such as the railgun and laser directed energy weapons, have yet to be fully proven out, despite years of relevant work the Navy has done already.

“The ship needs to be designed. So, I got to put money toward the research and design of it,” Adm. Caudle said during his roundtable at Sea Air Space. “It’s really the design and how much pull-through I can do from previous efforts, like things that we already have on Arleigh Burke and DDG(X) designs that were already in the works.”

The Navy has previously confirmed that BBG(X) is a direct successor to the DDG(X) next-generation destroyer program. The service has also said that the new large surface combatant addresses shortcomings that had emerged with the previously planned DDG(X) design, which we will come back to later on.

A previously released graphic detailing aspects of a largely notional DDG(X) design. USN

“So all that has to go into a form factor in which we’re fundamentally changing the capacity, [the] vertical capacity of it, [and] the electrical plant and electrical generation for future large-scale directed energy [weapons] and other munitions that require a lot of power, like railgun,” Caudle continued. “So all that’s being baked into that design. And, because we’re taking it so seriously, we want to make sure that we have the right resources applied to the design.”

One of the “mistakes that we’ve done before, quite frankly,” is “we’ve started to build before the design is mature enough,” the CNO added. “And we want to make sure that we’re at [sic] least a very, very high level – I won’t try to give a percentage, but you can think like 80% or more design – before the first weld is done.”

Caudle did not explicitly mention the Constellation class frigate, but the design of that ship was still being finalized as of April 2025, nearly five years after the initial contract award. Work had already begun on the lead ship at that time. This was all despite the Navy having explicitly chosen a derivative of an in-production frigate – Franco-Italian Fregata Europea Multi-Missione (FREMM) – specifically to help reduce risk and keep the program on track. Needless to say, that did not happen, as you can read more about here.

A rendering of a Constellation class frigate. USN

The Navy has also deliberately utilized a process known as “concurrency,” which entails starting production without having a validated design in place, on other shipbuilding projects. Concurrency has been presented in the past as a cost and time-saving measure, but has often produced exactly the opposite results. It has had notably negative impacts on the Navy’s newest operational aircraft carrier, the USS Gerald R. Ford, and both classes of Littoral Combat Ships (LCS).

“Look, we were doing work on railguns. We kind of abandoned it. We do have some directed energy [weapons] we are testing out right now,” Secretary Phelan also pointed out in terms of work the Navy has already done to develop key capabilities for the Trump class. “These are all things we have to get better at and need to do. So I think it’s just making sure that we’ve got the design down in an appropriate fashion, pretty locked down, and then making some trade-offs as we decide where to build that ship, when, how.”

The Navy just disclosed earlier this year that it conducted at least one new round of live-fire testing utilizing a prototype electromagnetic railgun currently at the White Sands Missile Range (WSMR) in New Mexico. In the early 2020s, the service had shelved work on that weapon, at least publicly, despite promising developments, citing technical hurdles.

A picture showing the prototype electromagnetic railgun at the White Sands Missile Range (WSMR) in New Mexico being fired during a test. USN

Navy officials also continue to be very supportive of work on laser directed energy weapons, despite ongoing challenges with their development. The service is actively pursuing microwave directed energy weapons, as well.

At his roundtable at Sea Air Space this week, Phelan said that there are discussions ongoing about the possibility of the Trump class warships being nuclear-powered, though he said that was “unlikely” to be the case. Nuclear propulsion would have major impacts on the complexity and cost of the ships. Navy budget documents say the plan currently is for the BBG(X) to use a combined conventional propulsion system that includes diesel generators and gas turbines.

The Navy is also still fleshing out how it plans to employ the Trump class battleships operationally, which will also have impacts on the final design. This ties back into the aforementioned issues with DDG(X) that the service has cited in the past. The Navy has said it had previously arrived at a place with the next-generation destroyer program where it was considering building two subclasses with different armament configurations. This, in turn, had prompted questions about the limits that course of action would have imposed on the operational flexibility of the class as a whole.

“It’s something we’re trying to understand all the proper trade-offs, and then think about it as a Battleship Strike Group, Carrier Strike Group, how do they work in which different theaters,” Phelan said. “Look at how we’re deployed today, and ask yourself, how a ship like that, what it could do for us. If I had a ship like that today, I could park that off the coast of Venezuela, and I don’t need a ton of DDGs [Arleigh Burke class destroyers] to support it, and I can relieve some of the pressure on those.”

The USS Jack H. Lucas, the US Navy’s first Flight III Arleigh Burke class destroyer. USN

The Secretary’s comments here are in line with how the Navy’s latest budget request describes the current operational concept behind BBG(X).

“Adding capability at the highest end of the Golden Fleet high-low mix, the Battleship’s primary role is to deliver high-volume, long-range offensive fires and serve as a robust, survivable forward command and control platform. The expanded size and energy density of the new Battleship provide critical advantages for future naval warfare, offering a future-proof platform with distinct capabilities that enhance deterrence,” the line item for the program says. “Its advanced systems will enable true long-range strike with hypersonic weapons housed in new, larger vertical launch systems. Vastly increased power generation, managed by a sophisticated integrated power system with high-capacity energy storage, will support mission-critical directed energy weapons like high-output lasers and electromagnetic railguns, reducing reliance on costly single-use munitions.”

“Furthermore, its advanced naval gunfire offers cost-effective options for strike and defense, and its capacity to embark a fleet command staff enhances survivability by putting commanders closer to the fight. As a flexible command-and-control platform for both manned and unmanned platforms, the Battleship can lead a Surface Action Group, integrate with a Carrier Strike Group, or operate autonomously to secure critical sea lanes,” it continues. “To overcome the capacity limits of the Arleigh Burke class destroyer and the capability compromises of the previously planned DDG(X), the Battleship is designed specifically to accommodate these advanced weapon systems.”

TWZ has previously raised detailed questions about the actual ability of a warship like the Trump class design to conduct independent operations, as well as the general utility of employing it in this way. These questions are compounded by the Navy’s plans, at least right now, to only acquire a very small number of these ships, which can only be in one place at one time. They would also be top targets for adversaries in future conflicts. With the plan now to order the first of these ships in Fiscal Year 2028, the decision about whether to proceed at all could fall to a new administration, as well.

Another Trump class battleship rendering. USN

The service does not appear to have ever put out a firm target for how many of the smaller DDG(X)s it expected to buy, but there had been talk of acquiring between 30 and 50 of those ships in the coming decades.

There are also industrial base and affordability concerns around acquiring such an expensive class of new large surface combatants amid the Navy’s other shipbuilding priorities. Naval shipbuilding capacity, or lack thereof, in the United States has been of growing concern for years, especially when contrasted with China’s industrial might in this regard.

“What we’re looking at more is this distributed ship building in modular [sic; modules], and I think that is a way to tackle that issue,” Phelan said at his roundtable in response to a direct question about these issues. “We’re going to need to really improve our ability to build ships.”

With TWZ and other outlets at a separate event earlier this year, Adm. Caudle also touted the importance of a greater focus on modular shipbuilding methods, which are not new. At that time, CNO was talking about how that could be used to help accelerate work on new FF(X) frigates that the Navy is now looking to acquire in place of the abortive Constellation class.

A rendering of the FF(X) frigate. USN

“An innovative strategy is guiding the new Battleship’s design and construction, centered on a state-of-the-art digital workflow. This utilizes modern digital engineering, AI-enabled design, and advanced production practices to reduce cost and schedule risk. Adopting best practices from Korean and Japanese shipbuilding, the approach emphasizes high design maturity before construction begins, precision modular construction, and tight integration between design and production teams,” according to the Navy’s Fiscal Year 2027 budget request. “This digital-first, modular approach allows for distributed construction across the industrial base, with U.S. shipyards focusing on final assembly and integration. The strategy is designed to stabilize the workforce, increase industrial resilience, and deliver the new capability more predictably and affordably.”

With the Navy now pushing to order its first Trump class battleship in Fiscal Year 2028, and insisting it won’t start work without a very firm design in place, more details about these warships are likely to continue to emerge in the coming months.

Contact the author: joe@twz.com

Joseph has been a member of The War Zone team since early 2017. Prior to that, he was an Associate Editor at War Is Boring, and his byline has appeared in other publications, including Small Arms Review, Small Arms Defense Journal, Reuters, We Are the Mighty, and Task & Purpose.



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Patriot PAC-3 Missiles To Arm Navy Arleigh Burke Class Destroyers

The U.S. Navy has handed Lockheed Martin a formal contract to integrate the Patriot PAC-3 Missile Segment Enhancement (MSE) surface-to-air missile with the Aegis Combat System. The Navy’s main Aegis-equipped ships today are its Arleigh Burke class destroyers. The service is also seeking just over $1.73 billion to order its first-ever tranche of PAC-3 MSEs, 405 in total, as part of its proposed budget for the 2027 Fiscal Year.

The idea of combining PAC-3 MSE and Aegis, as well as the Mk 41 Vertical Launch System (VLS), first emerged in 2023. Since then, TWZ has highlighted how this offers the Navy a valuable alternative source of anti-air interceptors, and maybe even eventually a replacement for the venerable Standard Missile-2 (SM-2).

A rendering of an Arleigh Burke class destroyer firing a PAC-3 MSE missile. Lockheed Martin

Lockheed Martin announced it had received the PAC-3 MSE/Aegis integration contract, said to be a multi-million dollar deal, earlier today, around the Navy League’s annual Sea Air Space exposition, at which TWZ is in attendance. The Navy has separately shared more details about its PAC-3 MSE acquisition plans as part of the full rollout of the Pentagon’s budget request for Fiscal Year 2027, which also occurred today.

Per the Navy’s Fiscal Year 2027 budget request, the service sees PAC-3 MSE integration with Aegis as providing an additional means of intercepting “a wide range of threats, including tactical ballistic missiles, air-breathing threats, cruise missiles, and unmanned aerial systems.” As mentioned, Arleigh Burke class destroyers make up the vast majority of American warships equipped with the Aegis Combat System today. There are also a steadily shrinking number of Ticonderoga class cruisers with this combat system.

PAC-3 MSE has been in full-scale production since 2018. Pairing it with Aegis “has been in the works, I probably think, close to 10 years,” Chandra Marshall, Vice President and General Manager of the Multi-Domain Combat Solutions business unit within Lockheed Martin’s Rotary and Mission Systems division, told our Jamie Hunter on the floor of Sea Air Space. She added that the goal now is for the Navy to achieve initial operational capability (IOC) with this combination in approximately 18 months, or by the end of 2027 if the clock starts now.

A briefing slide offering a general overview of the PAC-3 MSE missile, as well as its improvements over the previous PAC-3 CRI surface-to-air interceptor. Lockheed Martin An overview of the improvements found on the PAC-3 MSE variant over its predecessors, including a “New LE [lethality enhancer].” Lockheed Martin

“So, there’s two pieces of it. So the PAC-3 missile, there’s a small update to it to be able to communicate with S-band radar. So, currently it communicates with X-band [radars]. So, now with this update, it will be able to communicate both with S and X-band,” Marshall explained. “And then we have to integrate PAC-3 as a missile type with the Aegis Combat System.”

“We have a very open architecture [with Aegis], so the way that we componentize everything, we feel like it’s a very short putt for the Aegis integration of the PAC-3 missile,” she added. “So, it’ll just be another missile in the inventory for the Navy to be able to diversify based on the threat.”

You can read more about the Aegis Combat System and how it has evolved to adopt a modular, open architecture approach, specifically to make it easier to add new capabilities and functionality, in this previous TWZ feature. Lockheed Martin has already demonstrated the ability of a modular and scalable version of the system, called the Virtualized Aegis Weapon System, to fire a PAC-3 MSE from a containerized Mk 41-based launcher on land.

Aegis: Capable. Proven. Deployed. thumbnail

Aegis: Capable. Proven. Deployed.




No changes to the Mk 41 VLS – another Lockheed Martin product – are planned or required as part of the PAC-3 MSE integration. Work has been ongoing on adapting the interceptors into launch canisters, allowing them to slot right into existing Mk 41 cells. At just over 17 feet long, PAC-3 MSE should fit in shorter so-called tactical length versions of the Mk 41, as well as one with longer strike-length cells.

A graphic showing existing missiles compatible with tactical and strike-length versions of the Mk 41 VLS. Lockheed Martin A graphic showing various missiles already compatible with the tactical and strike-length versions of the Mk 41. Lockheed Martin

Lockheed Martin has said in the past that each canister will contain a single PAC-3 MSE missile. At around 11 inches wide, the PAC-3 MSE is just over half the maximum diameter available in a Mk 41 cell. This raises the question of whether future canisters could be designed to hold multiple interceptors, which would give ships valuable additional magazine depth.

From a capability standpoint, PAC-3 MSE is generally discussed in comparison to SM-2 surface-to-air missiles in the Navy’s arsenal today. In terms of missiles that can be fired via the Mk 41, SM-2 is a middle-tier anti-air capability that sits between shorter-range RIM-162 Evolved Sea Sparrow Missiles (ESSM; which can also be quad-packed into a single cell) and upper-tier SM-6s and SM-3s. The SM-6 is a multi-purpose weapon that can also be employed against targets on land and at sea. SM-3s, of which there are multiple variants in service today, are specifically designed as anti-ballistic missile interceptors.

“A lot of places the Navy has said ‘I got red or yellow challenges that I can’t deal with.’ This missile does a really good job at that. When you marry them all together, it is very complimentary to SM-6,” Chris Mang, Vice President of Strategy & Business Development at Lockheed Martin’s Missiles and Fire Control, told TWZ at last year’s Sea Air Space conference. “You’d always want a layered defense, right? I’ll pick the longest shot I can get, but then at a certain point, MSE really starts to outperform in certain envelopes.”

An SM-6 seen at the moment of launch. USN

For the Navy, PAC-3 MSE also presents important logistics, cost, and supply chain benefits. The latest conflict with Iran has only underscored now long-standing concerns about U.S. munition expenditure rates, especially when it comes to anti-air interceptors. A large-scale, high-end fight with a near-peer adversary like China would put much more pressure on munition stockpiles and the U.S. industrial base working to restock them. As such, it would be a boon for the Navy to have an additional stream of interceptors to arm its warships.

As noted, the Navy is already moving to buy hundreds of what documents currently refer to as the “PAC-3 MSE / Navy” missile, as well as launch canisters. The service’s Fiscal Year 2027 budget request puts the unit cost for each missile at $4.05 million. The canister adds another $200,000 to the price tag. The Army’s Fiscal Year 2027 proposed budget says the unit cost for standard PAC-3 MSEs has risen now to $5.3 million. The exact reasons for the cost discrepancy between the Army and Navy versions are unclear.

A PAC-3 MSE missile seen being fired from a ground-based launcher. US military A Patriot launcher fires a newer PAC-3-series missile during a test. DoD

“Both quantities and unit cost are estimates based on U.S. Army contract pricing. Both quantities and unit cost will adjust based on award of DoN CLINs [Department of Navy Contract Line Item Numbers] on ARMY contract in execution and final cost of the Navy components (radio, canister, etc),” per the Navy’s latest budget request.

At $4.05 million, the Navy’s PAC-3 MSEs will be slightly cheaper per missile than the Block IA version of the SM-6. The service’s latest budget request puts the unit cost of the latter missiles at $4.348 million. The cost of a current-generation Block IIICU variant of the SM-2 is unclear, given that they have often been procured as upgrades of existing Block IIICs rather than new-production missiles. Historically, the average price point for an SM-3 Block IIIC has been around $3.6 million.

“By leveraging the high-volume Army PAC-3 MSE production contract, the Navy achieves significant cost avoidance through economies of scale, as unit price decreases with larger quantities,” the Navy’s latest budget documents also note.

Lockheed Martin announced in January that it had reached an agreement with the U.S. government to ramp up annual PAC-3 MSE production, for domestic and foreign customers, from 600 to 2,000 missiles. Last week, the company received a contract to help further accelerate production of these missiles. This could all help drive down the unit cost of the missiles going forward, as well as speed up their delivery.

Lockheed Martin Receives Contract to Accelerate PAC-3® MSE Production thumbnail

Lockheed Martin Receives Contract to Accelerate PAC-3® MSE Production




It is worth pointing out here that PAC-3 MSE’s performance in the Middle East, as well as in Ukraine in recent years, has also prompted a significant increase in demand from the U.S. Army, as well as foreign Patriot operators. The overall Patriot user base is also expanding.

Adding the Navy to the mix will add to that demand, even with the production ramp-up, and could add to already growing concerns about production backlogs now. Integrating PAC-3 with Aegis and the Mk 41 VLS could also spur additional interest from other navies globally that have ships with that combat system and/or launchers.

Reuters reported just last week that U.S. officials had informed allies and partners in Europe that deliveries of unspecified munitions could now be delayed due to American needs in relation to the war with Iran. When it comes to PAC-3 MSE, the budget documents the Army released today, at least, do not appear to show any changes to the delivery schedule for foreign customers.

🇺🇸 Is the US re-sequencing scheduled PAC-3 MSE deliveries away from FMS customers to the US Army’s inventory?

The J-books say no. In fact, FMS customers are scheduled to receive the majority of production.

Delivery schedule unchanged from last year. Only 252 missiles from… pic.twitter.com/iZdXlAYQ82

— Colby Badhwar (@ColbyBadhwar) April 21, 2026

Regardless of any of these issues, the Navy is now pushing full steam ahead on integrating PAC-3 MSE with Aegis and the Mk 41 VLS.

Jamie Hunter contributed to this story.

Contact the author: joe@twz.com

Joseph has been a member of The War Zone team since early 2017. Prior to that, he was an Associate Editor at War Is Boring, and his byline has appeared in other publications, including Small Arms Review, Small Arms Defense Journal, Reuters, We Are the Mighty, and Task & Purpose.




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I’m a middle class snob

WHEN Billy Butlin opened his first holiday camp on the Lincolnshire coast in 1936, he wanted to provide fun and affordable breaks for the working class. 

Nearly a century on, that aim has not changed — although the park itself certainly has. 

Your ticket to ride at park’s £2.5million outdoor playpark Credit: Unknown
Butlin’s Skeggy has West End-calibre shows Credit: Butlins

I wonder what Billy would think if he visited the “Skeggy” branch now, with its West End-calibre shows, huge indoor waterpark and £2.5million outdoor playpark. 

During the Easter holidays, a school mum friend and I took our three kids for a three-night break at Butlin’s Skegness. 

With the resort celebrating its 90th birthday this month, I drew up an hour-by-hour spreadsheet to make sure we made the most of every opportunity. 

In just three days, we saw six shows, swam in the pool, played mini golf and laser quest, explored the soft play, spent far too many pound coins in the arcade, enjoyed arts and crafts and went to the fun fair.

SANDY BAY

UK’s warmest beach is home to two ‘most idyllic holiday homes’ with £30pp stays


GOLDEN YEARS

Britain’s prettiest town with hilltop castle where people ‘live the longest’

We didn’t have time for the bowling, go-karting, pottery, climbing and aerial adventure courses.  

What’s particularly incredible is that so many of these activities are included in the price of your stay. 

On our long weekend, self-catering “comfort apartments” were available from £387 for a family of four, working out at £32pp a night. 

For a decent seat at a West End production of a similar standard to the Butlin’s Masked Singer Live show, you’d already have blown the entire budget for the whole weekend break. The performances are top quality, too. 

The year-round pantomime is so hilarious it had me slapping my thigh, and the Animals and Mythical Beasts production brought tears to my son’s eyes. 

The star of the shows for us, however, was the Maximum Pro Wrestling, which included a star turn from one of the celebrity hosts, Jeff Brazier

Butlin’s has been investing heavily in its accommodation at Skegness. 

The fun never stops for younger visitors Credit: Supplied

We stayed at one of the Maple Walk lodges that first opened in 2024. The high-end, three-bedroom properties feature sleek kitchens, outdoor decking and a wood- panelled master bedroom. 

Maple Walk has its own entrance and even housekeeping, signalling a big departure from Butlin’s main, affordable offering.

One guest even drove past me in a Porsche

But there are still options for everyone.

When it came to food and drink, we opted for the all-inclusive dining and drinks packages. 

The Premium Dining package costs £33.95 an adult and £19.50 a child (six to 14) per day and covers a buffet breakfast and a buffet dinner. 

The drinks package starts from an extra £25.95 an adult per day and £10.50 a child, which includes unlimited booze, soft drinks and Costa coffee.

If you think you’ll get through more than four pints of Madri beer at £6.10 each, or five glasses of house wine at £5.60 each, over the course of the afternoon and evening then it’s well worth shelling out for.  

Some lodges have wood-panelled bedrooms Credit: Butlins

If you don’t want to gorge at the buffet like we did every night, the DineAround package includes a buffet breakfast and then you can pick from the other on-site dining options for a two-course lunch or dinner. 

This could be pub grub at The Beachcomber Inn or classic American diner-style food. Or you can simply pay as you go. 

These days, Butlin’s really does offer something for everyone.  

GO: BUTLINS

STAYING THERE: A three-night May half-term break featuring The Masked Singer Live and Maximum Pro Wrestling is from £229 staying in a two-bedroom Comfort Room in Skegness, arriving on May 29.

Price based on a family of four sharing and includes all live shows and activities with free flow access to the pool, fairground rides and playgrounds including the Skypark.

See butlins.com

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‘Beef’ creator breaks down Season 2’s story about couples, class and revenge

There’s a couple somewhere in Los Angeles who unknowingly inspired the second season of “Beef.”

Lee Sung Jin, the creator of Netflix’s anthology drama that swirls in the consequences of class struggles, resentment and the absurdity of life’s curveballs, once again found himself inspired by a tense interaction playing out before him. A road rage incident at a stoplight in Hollywood a few years ago, triggered by Lee’s delayed response to a green light, became the catalyst for the first season. An early idea to write about a men’s doubles partnership gone awry lost its luster after “Challengers,” Luca Guadagnino’s drama about a love triangle between tennis pros, came out. But a heated argument coming from a house in Lee’s neighborhood became the next spark that lit a narrative fuse.

“I told the story to people — it caused a little stir in the neighborhood,” he says. “And what I found fascinating was the different reactions. When I told younger folks, I’d get, ‘Did you call the police? Should you go check on them again?’ Very concerned, having an ideological view on relationships. When I told the story to older friends and couples, they were just kind of like, ‘Who among us hasn’t?’ I thought the idea of juxtaposing these couples at different stages felt like ripe ground.”

The overheard in L.A. moment inspired the eight-episode season,

A man and woman on a couch look at a man and woman sitting in chairs in front of them

Carey Mulligan and Oscar Isaac square off with Charles Melton and Cailee Spaeny in Season 2 of “Beef.”

(Netflix)

The twist-filled, darkly comic thriller kicks off when a young couple, Ashley and Austin (Cailee Spaeny and Charles Melton), who work at a Montecito country club, witness the explosive altercation between their boss Josh (Oscar Isaac) and his wife, Lindsay (Carey Mulligan), an interior designer, the night before the club’s new Korean billionaire owner, Chairwoman Park (Youn Yuh-jung), takes over. She has her own mess to tend to involving her husband (Song Kang-ho), a doctor whose health is affecting his work on patients. The calamities each couple faces spin out into a web of favors and coercion in this tale of broken systems and characters going to great lengths to get what they want.

“The idea of cycles felt interesting,” he says. “A lot of shows and movies cover marriage through the lens of one couple, you don’t really see that multigenerational juxtaposition.”

Speaking from his office on the Raleigh Studios lot in Hollywood, Lee discussed the season’s Montecito setting, the financial anxiety that drives the story and the four-legged breakout star of the show. These are edited excerpts from the conversation, which includes many spoilers.

Why did you want to set this season in Montecito?

Just writing what I know. My goddaughters — their parents are my best friends. They live in Montecito. The dad is my oldest friend in LA. He has a membership to Montecito Club, which is where we shot the exterior of our show. I was house-sitting for him during the writing of all this. He let me use his membership. I remember when he told me about the membership, I was like, “You pay how much? That’s insane, dude.” But then you start using the membership. This idea of hedonic adaptation — how humans so quickly adapt to this new comfort, this new stimulus — it felt like an interesting thing. I was observing how all the members seemed to be mostly boomers and Silent Gen; then all the workers were Gen Z and millennial. I thought: What a perfect metaphor for society right now. No matter how hard the Gen Z and millennials work, they’re never going to get to be members of this club because, as Austin says, “everyone grabbed the bag before they could.” That’s what made me want to set it at a Montecito country club.

A man, gripping a gold club in the air, and a woman have startled expressions while looking out a window
Inside a car, a man grips a steering wheel while he and a female passenger look out the driver's window.

Oscar Isaac as Josh Martin and Carey Mulligan as Lindsay Crane-Martin. Cailee Spaeny as Ashley Miller and Charles Melton as Austin Davis. The second season of “Beef,” follows the two California couples from different socioeconomic backgrounds — though both are struggling — as they spiral into a high-stakes feud. (Netflix)

That feeling of survival and resentment and entitlement really looms over this season. There’s speeches about love, but also capitalism. The anxiety about finances is so prevalent right now.

We certainly didn’t set out to make a season about capitalism. But if you’re constantly trying to chase truth as writers, I don’t know how you say anything in the modern era, in 2026, and not have capitalism be a huge variable because it permeates every aspect of life. It’s like going to get gas. Gas is almost $7 right now. You have to fill your tank and there goes $140? That’s crazy. And relationships face so much stress — everyone is being hit by all these curveballs and trying to keep your head above water — how can you enjoy each other?

It became very obvious to us that if you’re going to write a season about marriage and love to these two couples, financial implications have to be a big factor. There’s a lot of talk about the disappearance of the American dream right now. Birth rates are declining. No one’s owning homes anymore. But then you also see headlines about everyone’s scamming. CVS has everything locked down. You’re like, “Yeah, no wonder.” Everything’s connected. We wanted to really show how that survival instinct, the desperation, is starting to come for everyone. I don’t think it’s going to get easier, especially with AI moving on the horizon, and with leaders who refuse to put checks and balances in place.

Part of Ashley’s story is using the video of the fight between Josh and Lindsay as blackmail to get health insurance so she can afford treatment for her endometriosis. And that moment where she’s waiting in the ER for hours and it’s not until she collapses that they realize she needs emergency surgery — her big concern is whether she has to pay the deductible.

I wrote that episode in a literal day because it was based on an experience I had in an ER with my daughter’s mother. She had this illness fall upon her. We spent 12 hours at the ER and, the whole time, I had my Notes app out and was just writing down everything I saw. Almost everything in that scene is stuff that happened in real life. Our healthcare system is absolutely insane. It’s, again, unhinged capitalism and … felt like it really unlocked so much of the season.

There’s a moment where Josh has to sell some of his prized possessions to pay a gambling debt. Have you been there, needing to sell things to cover your financial obligations?

I’ve been there multiple times. I obviously struggled to find my way for a long time, even after becoming a writer. If you’re in a writing partnership, in a staff job on a show — first of all, this is what the guild has been fighting, trying to get these longer-term employment windows because these jobs sometimes are only … maybe eight to 12 weeks. You’re splitting a staff salary in two [if you’re in a partnership], and you probably haven’t qualified for health insurance by the end of that run. Sure, you’re a working writer, but I remember [by the time I landed at] “Always Sunny in Philadelphia,” my first real writing job, I had amassed so much debt, half of which were from parking tickets. I just didn’t have the money to pay these tickets, and so I just let them run rampant. So, yeah, I’ve been there. There’s this one guitar that I loved; it was the first guitar I bought with my own money after college — it was a Fender Telecaster. I think I bought it for $1,200. I ended up selling it for $300. I’ve sold collectibles. I’ve sold anything that had gold in it. I’ve scrapped to just find anything because you’re desperate.

A man and a woman sit facing each other in front of a large window

Song Kang-ho as Dr. Kim, Youn Yuh-jung as Chairwoman Park in “Beef.” Recalling the opportunity to direct the pair, Lee says: “It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.”

(Netflix)

You directed this season. Is there a moment that stands out with this cast?

A peak of my career that I think about daily is the moment in Korea where we were shooting at Amorepacific. It’s one of the most beautiful buildings in Seoul. I’m shooting the scene between the great Youn Yuh-jung and the great Song Kang-ho — two of not only my favorite Korean actors, but favorite actors period. They have never been in a scene together in any Korean film ever. They’ve been in a movie together, but never acted together. And here we are making Korean history by having them shoot that breakfast scene and, while I’m in the middle of shooting that scene, director Bong Joon Ho surprises us on set. He comes over laughing, pulls up to me, looks at my monitor, gives me stage fright, then elbows me and says, “You sure you want to frame it like that?” He was teasing. Then we started shooting the scene, it’s all in Korean, and I look back at video village and Bong’s just doubled over in laughter. He is just cracking up. Younger me, and present me, is looking around like: Here I am in Korea, in this building I’ve always wanted to shoot in, two of the greatest living actors and the greatest living director — what is happening? What a crazy sentence to say. It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.

How did you want race and identity to figure into this season, particularly through Austin?

Charles was the first piece of the whole thing. After Season 1, I got to go to Korea multiple times. I shot a music video for one of the members of BTS. I was experiencing Austin’s journey of being courted by this level of Korea that I’d never been exposed to before and feeling warm and allured by it — I’m having dinners with K-pop idols, like what is happening? So, I knew I wanted to have that element of elite Korea involved. The writers and I discussed a lot whether it should be a Korean American that’s being pulled. We had covered a lot of Korean American ground in Season 1, [but] one of the things we didn’t get to cover is the half-Korean experience. Several of the writers on staff are either half-Asian or half-Korean. We don’t want to repeat things, but let’s do explore a half-Korean character who is about to have a child suddenly get this pull toward Korea.

A blond woman raises her right index finger at a weiner dog dressed in a sweater

Carey Mulligan as Lindsay acting alongside Jones, the dog who plays Burberry, in “Beef.” “Jones is the best dog actor I’ve ever worked with,” Lee says. “A24 is making Burberry merch. There’s going to be a Burberry shirt.”

(Netflix)

There are some pretty gross, petty and violent acts of revenge. One is Ashley swirling her period blood in Josh and Lindsay’s pitcher of orange juice. The other takes place during a flight — Lindsay wiping gunk from the toilet seat and transferring it to the rim of the cup Ashley drinks from. Please explain how you arrived at these acts. Were there any left on the cutting room floor?

Episode 4 was pouring out of me. And I remember I got to the point where Ashley snooping through the house [where Lindsay and Josh live]. Initially, I had her scratching up the trophy. She opened Josh’s pomade and blew a snot booger into it. I was thinking of juvenile things. But I had the thought of her going to the kitchen and having the thing that happened to her being the expression of her revenge. I remember I was so nervous to show the [writers’] room. The way I wrote it, I had her crouching over the pitcher and Anna Moench, as the main female writer on the show, was like, “Sonny, I don’t think you know this works.” So, we revised it. That’s how the OJ one happened. With Episode 7 [and the toilet seat], we wanted to have a bodily episode on a plane, and there’s just such limited ways to get revenge on a plane. But given the OJ drink — there’s so many mirrors between the two couples, we thought it’d be fun to mirror that with a drink from Lindsay to Ashley. The only place to do that on a plane is bathroom. We shot it on stage with a fake toilet and Carey was almost vomiting. She came to me after that scene, and she goes, “Sonny, in all my years in this business, that is the most vile, disgusting thing I’ve ever had to do.”

The final moments of the finale jumps eight years. Did you always know you wanted a time jump? And did you always know Ashley and Austin were going to repeat the cycle?

The Ashley and Austin side, I knew the inverse graph for both characters would be very satisfying — to me, at least. I didn’t know whether that happened in a time jump or not. That’s something we discovered later. There was great debate in the room. I had a couple writers plead with me, “Why aren’t you ending with the kiss? It’s so sweet. It’s so good. I feel so good at the kiss. Can we just end it at the kiss?” I took it very seriously, but then it felt very similar to Season 1’s ending. Taking two people who start apart and they finally discover that connection but too late. I didn’t want to leave with the same feeling. How we can make it different is the “what happens next?” Life comes at you fast. He’s [Josh] still in prison. She’s [Lindsay] got to move on. Once I started heading down that thought experiment, I’m like, “Whoa, you could do a whole coda showing the literal theme of the show, the cycles, that’s where we can show Ashley and Austin becoming Josh and Lindsay.” That’s where we show, even though they found a connection, it’s lost between Josh and Lindsay — even if they’re still hanging on to the past a little bit. You show Troy and Ava still together [laughs] — they have it all figured out. Then you show the billionaire who, even with all the money in the world, is crying at the graveside of her first love, filled with regret.

We didn’t see where Eunice (Seoyeon Jang) ends up.

I wanted to leave it open. I’m very curious what people think. She really put her neck out there. Austin burned her bad. I don’t know where Eunice is at but it’s probably not good.

A shirtless young man lounges on a couch while scrolling on a cellphone

Charles Melton as Austin Davis in “Beef.”

(Netflix)

We can’t talk about “Beef” without discussing the needle drops. When you have Austin listening to Billie Eilish’s “What Was I Made For?” it was over for me.

The needle drops are usually pre-picked even before we shoot. The source music that’s playing diegetically, usually we discover in the edit. Before, as scripted, it had him scrolling Instagram and it was [the song playing on] his Instagram feed — you know how those Reels have music overlayed on a POV? It just wasn’t that funny to me in the edit. He’s so down and out and I wanted to find different source music in there. One day, I told my editor, “Can you rip ‘What Was I Made For?’ And can you just temporarily do it where, as she opens the door, he’s like, pressing the volume up, being like ‘sh— … sh— …’ [intending to make the volume go down]?” Our AE [assistant editor] did the ADR temporarily of the “sh—, sh—,” filmed it on my phone and I texted it to Finneas [O’Connell, the show’s composer, who is Eilish’s brother and collaborator] being like, “Hey, is it cool if we do this?” And he was dying laughing. [O’Connell also makes a cameo in the season.]

Ahead of Season 1, you gifted the writers “The Sopranos Sessions” and also assembled a Letterboxd list of films that served as reference points. What guidance did you provide for Season 2?

I sent another Letterboxd playlist. For inspo, we got “Handmaiden,” “Phantom Thread,” “Force Majeure,” “Eyes Wide Shut,” “The Informant.” For some reason, I have “Margaret” on there, the [Kenneth] Lonergan film. I also had “Michael Clayton,” “Who’s Afraid of Virginia Woolf?” “Burn After Reading,” and lastly, it’s a deep cut, there’s this movie called “Like Crazy,” starring Felicity Jones and Anton Yelchin.

Also, can we take a moment for Burberry’s acting?

Oh my god, Jones! Jones is the best dog actor I’ve ever worked with. He would hit his mark. He would listen. He would look at people when he’s supposed to be looking. It was his first time acting. Crushed it. A24 is making Burberry merch. There’s going to be a Burberry shirt.

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Is this the weirdest business class seat ever? New designs with wraparound TVs that look more like a private cinema

FORGET battling for the armrest or squinting your eyes at the tiny screen – the future of flying has been revealed.

We all love to try and make a flight as comfortable as possible, whether that be upgrading to premium economy or taking a cosy jumper onboard, but a new business class plane seat has been revealed and it is more like a private cinema.

A new plane suite has been revealed and it looks like a cinema Credit: Safran
The Origin plane suite features a wraparound screen that can be used for in-flight entertainment Credit: Safran

In a collaboration between plane seating provider Safran and in-flight entertainment system provider RAVE Aerospace, a new plane suite with U-shaped TV screen and seat headrest speakers has been revealed.

Known as Origin, the suite’s will bring greater comfort to passengers with a giant screen that travels across the front and sides of the pod, essentially looking like a wraparound cinema screen.

The screen can be used for in-flight entertainment such as films, but can also be used as a wallpaper.

As such, the screen can show all sorts from the inside of a cafe to a cosy library, reports Flight Global.

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In addition to the screen, Origin has a number of other cool technologies.

For example, the suite has a temperature management system which allows passengers to create their own microclimate.

The seat also has Euphony, which is Safran’s headset-free audio system, meaning that there are speakers built in the headrest so passengers don’t have to plug in headphones.

The entire suite also has lighting that changes to match the screen’s visuals.

And the seat has cushions that have been made to improve comfort on long-haul flights.

The new concept was revealed at the annual Aircraft Interiors Expo in Hamburg and while the concept isn’t in any planes yet, the show often allows airlines to essentially ‘shop’ for future features of their service offering.

Ben Asmar, Vice President, Products and Strategy at RAVE Aerospace said: “Future display technologies are about more than just consuming content.

“They enable curated experiences, whether that’s deep immersion or the ability to escape into environments beyond the physical.”

Asmar added that the suite could be the future of premium travel and that it could be flying within the next five to 10 years.

The seating also boasts comfortable cushioning and speakers in the headrest Credit: Safran

Our favourite Caribbean holidays

If you click on a link in this box, we will earn affiliate revenue.

Hotel Capriccio Mare, Dominican Republic

Facing the calm, crystal waters of the Caribbean Sea, Hotel Capriccio Mare looks like a bright white island villa. The hotel’s position on Bavaro’s coastline is perfect for exploring the popular resort town of Punta Cana. Whether it’s strolling the sands to grab a fresh coconut with a straw, or venturing out on a catamaran trip to Saona Island, this dreamy Caribbean resort is not one to miss.

BOOK HERE

Coconut Court Beach Hotel, Barbados

This friendly, family-run hotel is a slice of Caribbean paradise. This hotel sits smak-bang on a sugar-white beach with warm turquoise waters. Enjoy both the beaches of Barbados and its plethora of rum bars – there are about 1,500 of them on the island.

BOOK HERE

Sugar Bay Club, St Kitts

Set on the quiet side of St Kitts’ Frigate Bay, the boutique Sugar Bay Club offers superb value and wonderful views of the Atlantic Ocean. Staff are on hand to assist with island tours, from catamaran cruises to scenic railway excursions.

BOOK HERE

Antigua Yacht Club Marina Resort, Antigua

Amazing Antigua has 365 beaches – one for every day of the year – as well as a fascinating history. This resort in Falmouth Harbour is perfect for exploring the beautiful local area, including Pigeon Point, Nelson’s Dockyard and English Harbour.

BOOK HERE

Jean-Christophe Gaudeau, VP Marketing at Safran Seats said: “Our ambition is to redefine the future of premium travel.

“With Origin, we bring together seating innovation and future display technologies to create an immersive, adaptive environment that puts comfort, well‑being and passenger control at the forefront.”

Safran already has other seat designs on a number of airlines including Emirates, Japan Airlines, Air France, United Airlines and Air New Zealand.

Its designs usually include privacy doors, wireless charging and premium comfort.

In other flight news, there’s a new unusual double decker plane seat that could make economy travel much better.

Plus, a budget airline has axed all London flights to long-haul holiday destination despite only launching three years ago.

While the suite is not currently on any plane, it could be within the next five to 10 years Credit: Safran

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L.A. City Council panel seeks to ban e-bikes from city hiking and equestrian trails

A Los Angeles City Council panel is pushing to ban electric bikes from most city recreational trails, saying the machines pose a threat to hikers and equestrians.

The council’s Arts, Parks, Libraries, and Community Enrichment Committee voted 3 to 0 in favor of the measure, which now goes to the council’s Transportation Committee before potentially advancing to the full City Council, which would have to approve the ban before it takes effect.

“When you have something that’s motorized traversing that same space, especially if it’s somewhat of a rugged space, for folks that have sensitivities — knees, ankles — you don’t want to create an intimidating situation,” councilmember Adrin Nazarian said.

Although he voted to support the measure, Nazarian said he was open to making changes such as restricting some classes of e-bikes instead of a unilateral ban.

The ban, proposed by councilmember John Lee, would still allow e-bikes on designated bikeways in the city, including some of those along the L.A. River and city beaches.

Regular bikes are already banned from anything designated as a “trail,” according to a city ordinance, but a spokesperson for Lee said e-bikes were a gray area that his proposal aims to address.

Supporters of the measure include Lisa Baca of the Monteverde Ranch Equestrian Center in the northeast San Fernando Valley, who said horses are animals that can easily be spooked by facing moving e-bikes.

“They panic and it becomes very dangerous” for both riders, she said in an interview. At the same time, Baca noted that enforcing any ban on remote trails would be difficult.

Eli Akira Kaufman, director of the nonprofit advocacy group BikeLA, criticized the proposed ban as a “blunt instrument” and said the city should instead engage in a public education campaign aimed at getting people to share space safely.

Michael Schneider, chief executive of StreetsForAll, said the main problem on trails comes not from e-bikes but from people riding more powerful motorcycles and motorized trail bikes that aren’t street legal.

Federal regulations around e-bikes are lenient; they are considered nonmotorized vehicles like regular bikes and don’t require riders to have driver’s licenses or insurance. Local regulations, such as the one proposed by Lee, can vary widely by jurisdiction.

Under California law, e-bikes and e-motorcycles are separately classified by motor power, top speed and whether the bike has working pedals. Class 1 and Class 2 e-bikes don’t require licenses or insurance, while Class 3 riders need to be at least 16.

Catherine Lerer, a partner at law firm McGee Lerer Ogrin who has worked on dozens of e-bike accident cases, said accidents are more dangerous because riders — sometimes children — are moving faster than they would on a regular pedal bike.

“Minors riding e-bikes do not appreciate how fast that these bikes go, and they don’t know the rules that apply to riding an e-bike,” Lerer said. “It’s just a recipe for disaster.”

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The original ‘Faces of Death’ has a dark history in California schools

It’s been decades since “Faces of Death” stirred panic among parents of teens trading the 1978 pseudo-snuff VHS. The “video nasty” spawned a number of sequels, spinoffs and now a remake starring Barbie Ferreira and Dacre Montgomery that hit theaters this month.

But back in the 1980s, the original film caused an uproar at Southern California schools.

Days before school was out for summer in 1985, Escondido High School math teacher Bart Schwartz, then 28, used a spare two hours during finals week to squeeze in a film screening with his class. Schwartz wanted to show the film because it was “interesting.”

According to the Times coverage of the incident and subsequent lawsuit, the scenes shown in the classroom included autopsies, decaying cadavers and live animals being butchered, mutilated and tortured. The original “Faces of Death” also includes scenes of a man being electrocuted, a decapitation and an orgy during which a man is gutted by a flesh-eating cult.

Although today’s audiences might be more desensitized to such gruesome scenes thanks to hyperrealistic special effects in modern horror movies, and the commonplace spread of graphic clips online, audiences of the ‘80s were reportedly traumatized and scandalized. Not only was the film considered macabre, but it also was widely believed to be composed entirely of real footage.

“The ultimate taboo,” “100% real” and “banned in 46 countries!” were taglines for the original film. It wasn’t until decades after the film’s release that director John Alan Schwartz publicly confirmed that while some footage was real and pulled from news and autopsy archives, much of the movie was staged and the shockumentary’s host pathologist, Dr. Gröss, was an actor.

“Each new generation discovers it,” Schwartz told New York Public Radio in 2012. “And even though things look hokey now, there are still segments that people actually believe are real that aren’t.”

The 2026 remake, by comparison, is clear about its fictional plot, but also includes real clips of death that were “carefully trimmed,” according to director Daniel Goldhaber.

Back to 1985 — Escondido High’s Schwartz, who had previously been named “teacher of the year,” reportedly would not allow students to leave the classroom while the film played. One student, then 16-year-old Diane Feese, said the teacher fast-forwarded through the dialogue and forced students to watch the film’s most gruesome scenes. She covered her eyes, according to reports from the time, but was still subjected to other students’ commentary and the audio of the deaths depicted on-screen.

That fall — when school was back in session — Feese sued the teacher and the school principal for $3 million. Schwartz was suspended with pay for 30 days, then an additional 15 days without pay.

In 1986, another student in Schwartz’s math class, Sherry Forget, followed suit and took the math teacher to court for being subjected to the film. In 1987, the lawsuits were settled with Feese receiving $57,500 and Forget, who asked for $1 million, netting $42,500.

Less than a decade later, a Los Angeles high school teacher was also sued by his students for showing “Faces of Death.”

Verdugo Hills High School social sciences teacher Roger Haycock showed his cultural awareness class the film in December 1993. Students Jesse Smith and Darby Hughes alleged in their lawsuit that they were required to watch the film and write a paper on it. The teen boys said they suffered nightmares, emotional problems and were harassed by other students for their reaction to the film.

According to The Times, Haycock showed excerpts from “Faces of Death” to five classes that day and gave students the option to write a paper for extra credit or go to the library if they didn’t want to see the film. Haycock said he showed only parts of the film depicting animals being killed and did not show portions of the film that depict human death.

“Basically it had to do with the treatment of animals and the way we get our food, which was the lesson,” Haycock said at the time. “We go to the supermarket and get our meat, and we think it sanitizes us because it’s wrapped in plastic. But it has to be slaughtered for us by someone else. I was trying to show how other cultures provide food for themselves versus the way we do, living in the city.”

The judge dismissed the lawsuit, siding with the district’s argument that students shouldn’t be able to sue based on what they are taught in class.

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‘I spent £7k flying first class on British Airways and there was 1 big downside’

A man splurged almost £7,000 on a first class flight with British Airways but one big issue left him feeling unimpressed with some saying he has “sufficient evidence for a refund”

A man forked out almost £7,000 on a first class flight with British Airways but branded his experience “shocking” due to one specific downside.

Flying first class is a dream many people have, especially on a long-haul flight as standard airline seats are notoriously tight and cramped. For those lucky enough to snap up a first class ticket, their expectations may be as high as the price. Now one content creator, known as Jabz, splashed £6,800 on a first class ticket with British Airways and documented his experience in a vlog-style video which he shared to social media.

In the footage, which was posted on Instagram to his 213,000 followers, he narrated his thoughts. Jabz began: “I just flew British Airways’ first class which was £6,800 and it was shocking.”

He did praise the cabin, which looked quite “modern” with a “minimal” design. It also came with a “super wide” seat which offered “more than enough space” to stretch out his “long” legs.

Jabz said: “The only downside is there was no privacy door which is a shame because even business classes have them now.”

When he was handed an “amenity kit” and a set of pyjamas, he was immediately impressed, and then enjoyed a welcome drink while he familiarised himself with the features of his seat.

But things took a turn for the worst after he was handed a menu. First class passengers are able to “request different meals before departure”, which he did, but was told by staff that “they forgot to load it onto the plane”.

Jabz said sarcastically: “That’s fine because there’s gonna be other options, right?”

He had wanted a fish dish but this wasn’t possible. He continued: “BA said they only had one fish meal in first class and someone had already requested it but they said they’re gonna check what they had spare in the lower cabins to see what they could do.

“Talk about first world problems but that’s just not what I paid for. I’m over here getting treated like I’m Oliver Twist.”

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He then included clips of all the meals he was served onboard. He branded a tomato soup “actually quite decent” but said a “cold plate of tomatoes, paneer and couscous” was “really not good, unfortunately”.

Jabz jokingly described his main dish as a plate of “glippy gloop and fizzy widgets”. He said: “If this is what they’re serving in first class, the food in economy must be radioactive because I genuinely don’t know what this is supposed to be.”

He was “excited” for dessert which “looked good” but “tasted like baby oil and sugar” while the accompanying fruit plate contained mangoes which “weren’t even ripe”.

Jabz also noted the first class bathroom didn’t contain a shower, which differed to previous experiences he enjoyed on other first class flights.

Onto a positive feature, he praised the “really cool” wardrobe outside first class seats which allows passengers to hang up their clothes once they’ve changed into the provided pyjamas. After returning to his seat, he noted the flight attendant had made it into a bed so he could lay down and get some rest. Jabz was pleased it was “really spacious” and said it was “one of the more comfortable cabins to sleep in”.

But his final plate of food was made up of “miscellaneous ingredients” that he wasn’t impressed by.

In the comments section, fellow Instagram users were keen to share their thoughts. One person said: “Flying first class is a personal dream that I’ll likely never achieve. Thanks BA for making me feel so much happier about not being able to afford it.”

Another quipped: “You have sufficient evidence for 70% refund.”

A third said: “These for £6,700? No thanks.”

Another added: “That is pretty shocking. That food wouldn’t be barely passable in business but First? It should be pure gourmet.”

Meanwhile others had more positive things to say about their previous experiences. One said: “Yes I fly First Class to Barbados, worth it. I love BA, thanks.”

While someone else commented: “I’ve flown BA business with the new sliding doors and it was great.”

What does BA offer in First Class?

According to BA’s website, a first class experience comes with “exceptional, elegant service”. It added: “Your own private, spacious suite, a fully flat bed with luxurious bedding.

“Delicious, indulgent fine dining. Temperley London loungewear, amenity bag and slippers. Seven-piece luxury skin and body care collection from Elemis. Access to luxurious lounges. Exclusive and dedicated service. Priority boarding.”

The airline prides itself on providing a “luxury travel experience” where you can “cross the world’s skies comfortably, enjoying excellent food”.

BA has been approached for a comment.

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Prep talk: Jordan Ayala of Norco is latest baseball player to reclassify

Jordan Ayala, a standout sophomore pitcher and hitter at Norco High, is the latest baseball player to reclassify and become a member of the class of 2027 next season, he confirmed on Tuesday during the first round of the Boras Classic.

Another player who has reclassified from the same tournament is Huntington Beach pitcher Jared Grindlinger, who will join the class of 2026, making himself available for this summer’s MLB amateur draft.

All this is happening with uncertainty about a possible MLB lockout when the current collective bargaining agreement runs out and not knowing what changes might happen to the draft.

Ayala, 16, said he’s moving his graduation date up to preserve his arm and take a look at becoming a professional after high school.

Huntington Beach coach Benji Medure said reclassifying is not for everyone.

“It takes a special person,” he said. “You’re putting yourself out there.”

Don’t be surprised to see more top players joining the reclassification movement next year.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

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Candace Parker heads 2026 Basketball Hall of Fame class

Candace Parker, Elena Delle Donne, Chamique Holdsclaw and the 1996 U.S. Olympic women’s basketball team will be enshrined in the Naismith Memorial Basketball Hall of Fame later this year.

Parker, Holdsclaw and members of the 1996 Olympic team were all in attendance Friday at halftime of the UConn-South Carolina game during the women’s NCAA Final Four, where the selections were announced, as was Amar’e Stoudemire and Mike D’Antoni.

They will be joined by longtime NBA official Joey Crawford, NBA coach Doc Rivers and Gonzaga coach Mark Few in the Hall of Fame.

Parker won three titles in the WNBA with three different teams: Los Angeles, Chicago and Las Vegas. She is the only player in league history to win both the MVP and Rookie of the Year in the same season.

She also won two titles while playing in college for Tennessee under Hall of Fame coach Pat Summitt, plus two Olympic gold medals and two WNBA MVP awards.

Delle Donne won two league MVP awards in 2015 and 2019, the second of which came when she led the Washington Mystics to their lone WNBA championship. Delle Donne became the first player in league history to shoot more than 50% from the field, 40% from three-point range and 90% from the free-throw line.

Holdsclaw won three straight titles at Tennessee from 1996-98, the first team to accomplish that. The 1998 championship was Tennessee’s first undefeated season at 39–0 and the Vols also set an NCAA record for the most wins in a season. Holdsclaw went on to have an 11-year WNBA career.

Stoudemire, who was the only NBA player in this year’s class, was Rookie of the Year in 2003 and became six-time All-Star. He spent the first eight years of his career with the Phoenix Suns, where he teamed with D’Antoni.

Rivers has nearly 1,200 victories on his resume, which puts him eighth on the all-time wins list. He led the Boston Celtics to the NBA championship in 2008 and also was in charge of the Los Angeles Clippers during their Lob City era.

Few has won more than 770 games at Gonzaga in his career at the school. He set the NCAA Division I men’s coaching record by winning 81 games in his first three years at the school.

Crawford officiated 2,561 regular-season NBA games and 50 Finals games over his 39-year career. He retired in 2016.

The enshrinement ceremony will take place in August at the Hall of Fame in Springfield, Mass.

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3 FBI agents fired after investigating Trump file class action suit alleging ‘retribution campaign’

Three fired FBI agents sued on Tuesday to try to get their jobs back, saying in a class-action lawsuit that they were illegally punished for their participation in an investigation into President Trump’s efforts to overturn his 2020 election defeat.

The federal lawsuit adds to the mounting list of court challenges to a personnel purge by FBI Director Kash Patel that over the last year has resulted in the ousters of dozens of agents, either because of their involvement in investigations related to Trump or because they were perceived as insufficiently loyal to the Republican president’s agenda.

The lawsuit in federal court in Washington was technically filed on behalf of just three agents but may have much broader implications given that its request for class-action status could open the door for agents fired since the start of the Trump administration to get their jobs back.

The three agents — Michelle Ball, Jamie Garman and Blaire Toleman — were fired last October and November in what they say was a “retribution campaign” targeting them for their work on the investigation into Trump. The agents had between eight and 14 years of “exemplary and unblemished” service in the FBI and expected to spend the remainder of their careers at the bureau but were abruptly fired without cause and without being given a chance to respond, the lawsuit says.

“Serving the American people as FBI agents was the highest honor of our lives,” they said in a statement. “We took an oath to uphold the Constitution, followed the facts wherever they led and never compromised our integrity. Our removal from federal service — without due process and based on a false perception of political bias — is a profound injustice that raises serious concerns about political interference in federal law enforcement.”

Trump’s indictment

The investigation the agents worked on culminated in a 2023 indictment from special counsel Jack Smith that accused Trump of illegally scheming to undo the results of the presidential election he lost to Democrat Joe Biden in 2020. Smith ultimately abandoned that case, along with a separate one accusing Trump of illegally retaining classified records at his Mar-a-Lago estate in Palm Beach, Fla., after Trump won back the White House in 2024, citing Justice Department legal opinions that prohibit the federal indictments of sitting presidents.

The lawsuit notes that the firings followed the release by Sen. Chuck Grassley, the Republican chair of the Senate Judiciary Committee, of documents about the election investigation — known as Arctic Frost — that he said had come from within the FBI. Those records included files showing that Smith’s team had subpoenaed several days of phone records of some Republican lawmakers, an investigative step that angered Trump allies inside Congress.

The complaint names as defendants Patel and Atty. Gen. Pam Bondi, accusing them of having orchestrated the firings despite being “personally embroiled” either as witnesses or attorneys in some of the legal troubles Trump has faced.

Patel, for instance, was subpoenaed to appear before a federal grand jury investigating Trump’s retention of classified documents at Mar-a-Lago and had his phone records subpoenaed, while Bondi was part of the legal team that represented Trump at his first impeachment trial, which resulted in his acquittal.

“And now, by virtue of presidential appointment to the pinnacle of federal law enforcement, Defendants are abusing their positions to claim victories that eluded them on the merits,” the lawsuit states.

Spokespeople for the FBI and the Justice Department declined to comment on the ongoing litigation. Patel and Bondi have said the fired agents and prosecutors who worked on Smith’s team were responsible for weaponizing federal law enforcement, a claim that was also asserted in their termination letters but that the plaintiffs call defamatory and baseless.

Fired agents call for ‘fundamental constitutional protections’

Dan Eisenberg, a lawyer for the agents, said in a statement that his clients were fired without any investigation, notice of charges or chance to be heard.

“This lawsuit seeks to reaffirm fundamental constitutional protections for FBI employees, ensuring they can perform their duties without fear or favor. We all benefit when law enforcement officers’ only loyalty is to facts and the truth,” said Eisenberg, who is with the firm of Emery Celli Brinckerhoff Abady Ward & Maazel.

The lawsuit asks for the agents to be reinstated to their positions and for a court declaration affirming that their rights had been violated. It also seeks to represent a class of at least 50 agents who have been terminated since Jan. 20, 2025, or will be. Those agents also stand to recover their jobs in the event the case is successful and the requested class-action status is granted.

Others have been fired too

Other fired employees who have sued include agents who were photographed kneeling during a racial justice protest in 2020; an agent trainee who displayed an LGBTQ+ flag at his workspace; and a group of senior officials, including the former acting director of the FBI, who were terminated last summer.

The firings have continued, with Patel last month pushing out a group of agents in the Washington field office who had been involved in investigating Trump’s hoarding of classified documents. Trump has insisted he was entitled to keep the documents when he left the White House and has claimed without evidence that he had declassified them.

Tucker writes for the Associated Press.

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Inside the fancy first class lounge at one of the UK’s best train stations

THE LNER first class lounge at London King’s Cross Station will reopen tomorrow after a plush makeover.

It’s the perfect place to relax with plenty of seating, private booths and complimentary food and drink.

LNER has resigned its first class lounge in London King’s CrossCredit: LNER
The six private booths are a new addition to the lounge in the busy train stationCredit: LNER

LNER is the only passenger lounge at King’s Cross Station and it closed a few months ago for an upgrade.

It will reopen on March 31, 2026 with a brand-new look – and it’s very fancy.

Inside is an open plan area with dark red walls and pink coloured furnishings along with elegant lamps and little tables.

New to the lounge are six booths that have been designed to be private and are ticked away from the main lounge.

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Each has charging ports, small desk and a lamp.

Anyone in the lounge can enjoy free food and drink which is available throughout the day.

In the morning, there’s a selection of pastries and in the afternoon there are cakes and muffins – and a range of biscuits and crisps.

There’s also fruit juices, tea and coffee.

Guests to the lounge can enjoy the snacks on the curved banquette seating, or nearby tables and chairs.

Thanks to the redesigning of the space, the capacity of the lounge has increased to 122.

Off the back of customer feedback, other additions include more luggage and storage areas and resigned the reception.

There are new screens too for platform information so customers shouldn’t miss their train – even if they’re relaxing in the lounge.

The lounge is on the mezzanine level of King’s Cross stationCredit: Alamy

Colette Casey, Customer Experience Director at LNER, said: “The Lounge has been transformed into a modern, comfortable, relaxing area for our First Class customers to spend time in and enjoy before or after travelling with us, and we cannot wait to hear what they think of the changes.”

There is some disappointing news and that is that most travellers won’t be able to use the lounge as it’s only accessible to first-class LNER ticket holders.

But if you do have one of these tickets, then you can access the lounge from the ground floor located next to Waitrose.

Or head upstairs to the entrance on the mezzanine.

The lounge is open during the weekdays from 7am until 9.25pm.

Saturdays it’s open 8am to 8.15pm and 9am to 8.15pm on Sundays.

There’s also a free family zone with beach huts, a soft play area and a huge train set within London King’s Cross.

It’s right next to the Travel Centre and can be used by families who are booked onto trains departing the station – but it’s not limited to LNER customers.

Inside are four brightly-coloured beach huts complete with tabletop toys and games.

There’s a bespoke Hornby train set, keeping both big and little kids entertained.

And there’s a soft play area with a slide and a tiny black boulder doubling as a climbing frame.

Here’s another secret spot in London St Pancras…

Just opposite Kings Cross within St Pancras is somewhere else that you may not have stumbled upon – and you can get free drinks.

A hidden bar called the Booking Office 1869 is within the St Pancras Renaissance Hotel London.

Each day at 5:05pm, visitors can have a free drink.

According to a TikTok video posted by @thecuriouspixie: “A bill rings, a flame ignites and a bartender will perform a full rum punch ritual.”

This happens at 5:05pm because the hotel originally opened on May 5, 1873, but the booking office opened in 1869 – which is where the name comes from.

For more on trains – this could be the most glamorous train ride ever with a beautiful bar and onboard suites.

And here’s more on how the first ever direct trains from London to Switzerland are even closer to launching.

LNER is reopening its first class lounge with a brand new designCredit: LNER

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The ‘Ballet Reign’ YouTube channel brings Gen Z vibes to the art form

“Everyone is at least a dormant ballet nerd,” declares 22-year-old Eden Lim, while sitting for an interview in the suburban Dallas studio where she and her sister, Jordan, 24, film and edit their popular YouTube channel “Ballet Reign.”

Judging from the near-universal backlash to Timothée Chalamet’s recent bad-mouthing of ballet, Eden’s summation of the central tenet of their show may be true. With 67,000 subscribers in 166 countries and growing, the Lim sisters are mixing Gen Z humor and exuberance with astounding erudition to bring ballet to a new generation and fire up older, longtime fans.

With episode titles such as “Addictive Ballet Moments to Alter your Brain Chemistry” and promises like “This will increase your lifespan and double your morale,” they are on a mission to ensure that ballet not only survives but thrives.

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Mirthfulness is the Lim sisters’ medium, but their message is serious. During each show, they parse video clips of great performances, often by explaining the history of the piece and giving detailed behind-the-scenes stories. They dissect the most famous pas de deux with trenchant insight and introduce their audience to the greatest dancers, including Natalia Osipova and Roberto Bolle. With signature, irrepressible enthusiasm, the sisters help viewers see precisely what makes the shows and dancers so extraordinary.

Two women in dance clothes.

Eden, left, and Jordan Lim of YouTube channel “Ballet Reign” trained as professional dancers before deciding to focus on their show full time.

(Larsen & Talbert / For The Times)

A video clip featured in the “Addictive Ballet” episode shows New York City Ballet principal dancer Ashley Bouder launching herself into a jeté so high she seems to leave Earth’s gravity. In midair she manages to turn herself 180 degrees before being caught by her partner, despite her momentum seeming to drift into his arms like a feather blown by a breeze.

While watching the singular feat, Eden exclaims, “Call the news channels! We found a person who can actually levitate!”

Jordan says the goal is to make viewers feel equipped to say, “I understand what’s going on, and I can appreciate it, and I can appreciate that this was done well.”

“Ballet Reign” launched three years ago with modest hopes. The sisters sought a mere toehold in the YouTube universe, aiming for a narrow niche audience of fellow ballet fanatics (“ballet nerds”) ages 16 to 25. To their initial astonishment, they have attracted a far wider viewership spanning all ages, even followers who hitherto had only scant interest in ballet. They have drawn in many young children and older adults, with those 65 and up now their third-largest subscriber group.

The show has rapidly won acclaim from within and outside of the ballet world — perhaps because the depth and breadth of their knowledge makes it hard to shake the suspicion that they secretly are Ivy League professors.

Two women dancing.

The Lim sisters speak with sophistication about classic ballets and dancers they love — delivering their message through a whimsical show that has attracted fans of all ages.

(Larsen & Talbert / For The Times)

They comment with equal sophistication on ballet steps, choreography, history, musicology and the minute details of costume design. Eclectic references pop out of nowhere — a metaphor from quantum physics, an aside that the flute is the instrument whose sound is closest to a sine wave, that a serinette is an 18th century music box used to teach caged canaries to sing.

Even actual professors laud the show.

Nicolas Krusek routinely shows “Ballet Reign” episodes in his classes for adults on ballet history at Simon Fraser University in Vancouver. Krusek says what makes the show compelling “is the spirit of the videos, just the sense of joyousness and benevolence that they communicate, and a real sense of reverence for the art and the artists.”

John Meehan, a Vassar College professor of ballet and former principal dancer with American Ballet Theatre, calls their episode on Igor Stravinsky’s “The Firebird” ballet “amazing,” adding that it conveys at least as much information in much more palatable form than a “dry” university lecture.

Julie Cronshaw, director of the Highgate Ballet School in London, says even for learned, longtime balletomanes the show opens up a whole new realm of understanding and appreciation. For those weighed down by adult concerns, watching an episode leaves them feeling uplifted.

This is why Jordan believes “Ballet Reign” has attracted a significant older audience — and also because the sisters honor tradition.

“They’re looking at the content and saying, ‘These are pieces that I grew up watching. And these are the dancers that I adored when I was younger,’” Jordan says.

Eden says she hopes “it’s because our content, and the way we deliver it, is able to touch hearts.”

Two women smile.

The Lim sisters keep a disciplined schedule, turning out polished, deftly produced episodes 52 weeks a year.

(Larsen & Talbert / For The Times)

The show also benefits from its high production values, with expertly edited clips from performances, clever blurbs of text and quirky cutaways to, say, a pole vaulter as an allusion to how high a dancer jumps.

Episodes generally begin the same way, with the sisters sitting behind a table with an old-fashioned radio-days microphone nicknamed “Mike-elangelo” between them. Eden kicks things off by announcing, “Ladies and gentlemen, this is Ballet Reign.”

A flash of superimposed text identifies them as “*Very certified*, extremely serious ballet experts.”

Jordan and Eden revel in each other’s company, finish each other’s sentences and play off each other with insightful or witty interjections.

“We grew up best friends from the beginning, and that’s never changed,” Jordan says.

They keep a disciplined, grueling schedule, turning out polished, deftly produced episodes 52 weeks a year.

Comments validating their efforts come in frequently. “You really helped me through a dark time,” reads one. Another notes, “I was going through a really difficult life transition and having your videos helped me get through.”

Jordan says, “That’s a sort of impact that I genuinely did not see coming.”

The sisters are openhearted and enjoy revealing ballet’s best-kept secrets, but they have kept a remarkably mysterious online profile. Until now, they have never even disclosed their last names, let alone anything about their background, education or experience.

There is also nearly nothing on the internet, and fans have long wondered about their credentials, including whether they are professional dancers themselves.

On the show the sisters certainly come across as if they were. Surprisingly, the answer is no — with an “almost” caveat.

The oldest of four siblings, Jordan and Eden spent nearly all of their childhood in Ottawa. From the time they were small the sisters beelined toward becoming professional ballet dancers. Jordan says when she was 4 she got up at the crack of dawn every day and put in a VHS tape of a ballet class that her mother, Mary Lim, had bought. With fierce determination, she performed tendus and relevés along with the older students on the tape.

Eden’s ballet fascination quickly followed. Mary says she soon realized she had no choice but to send them to ballet school.

“Obviously, if you look at a 4-year-old doing ballet at 7 a.m. every single day, you’re like, OK, let’s try lessons,” Jordan says.

Two women having fun.

Eden, left, and Jordan Lim of “Ballet Reign” are the oldest of four siblings and spent nearly all of their childhood in Ottawa before relocating to Texas to pursue their careers.

(Larsen & Talbert / For The Times)

By 2015, the girls needed a better ballet school than was available in Ottawa. Their parents packed up the family and moved to Dallas, where the pair enrolled in the Ballet Academy of Texas. Aside from ballet classes they were entirely homeschooled, but they had plenty of experience dancing in school performances, ballet competitions and with real companies.

Mary says the intent was “to give them an opportunity to move and carve their own path … We wanted them to find their passions.”

The moment the sisters had worked for all their lives arrived in 2020, when the time came to set off around the country — and the world — to audition for ballet companies. But the COVID-19 pandemic hit just as they got started, and almost everything in the ballet world shut down.

Jordan says the hiatus led them to reflect for the first time on whether their lifelong ambition was truly what they wanted. At the same time they groped for a way to put their passion for ballet to temporary use.

For years the sisters had fantasized, half-seriously, about having their own YouTube channel. Eden convinced an initially reluctant Jordan it was time to make the daydream real, and “Ballet Reign” premiered on Dec. 21, 2022.

The sisters say they convinced themselves they were using the show to take “a gap year” while waiting out the pandemic. As the first months passed, and their audience widened and sent glowing feedback, they began to realize they were having a big impact and touching lives. It dawned on them that this wasn’t just an interlude but their calling.

In an agonizing twist, just as the show had gotten underway, Jordan received word she had been accepted by a professional ballet company. She turned down the offer.

“It was one of the hardest decisions I’ve ever had to make,” Jordan says, but in retrospect the right one.

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Venezuela: Between Imperial Intervention and Class Suicide

The oil reform and the stance regarding the war against Iran are key elements scrutinized. (EFE)

The early morning of January 3, 2026, marked a turning point in Venezuela’s recent history. An operation carried out by US forces combined airstrikes on Caracas and strategic military areas with a ground incursion that culminated in the abduction of President Nicolás Maduro and his wife, Cilia Flores, and their subsequent rendition to New York. The operation left more than 90 dead, including 32 members of the Cuban special forces who fought to protect Maduro, inflicting some damage on the imperialist forces before being killed.

While it is certainly strange that the United States could carry out the operation to kidnap Maduro and his wife without encountering significant resistance—beyond that offered by the innermost security ring, most of whom were of Cuban origin, like the aforementioned 32 martyrs—perhaps even more surprising are the statements made by Defense Minister Vladimir Padrino López. Weeks after Maduro’s kidnapping, Padrino asserted that it was impossible to deploy fighter jets at the time of the attack given the United States’ air superiority, with 150 aircraft. He thus acknowledged that, with the exception of the president’s personal guard and a few soldiers stationed near the residence, the Venezuelan Armed Forces did not respond to the imperialist aggression. 

We cannot speculate on military matters, since we are not experts and do not have all the necessary information on the issue. That falls outside our purview. In any case, Padrino López’s own words and the events that unfolded during the attack indicate that, for some reason or another, the decision was made not to respond militarily to the Delta Force attack in the early hours of January 3 in Caracas. 

To the surprise of many, Maduro’s abduction did not lead to an immediate or complete institutional collapse. Vice President Delcy Rodríguez assumed the interim presidency, backed by the Supreme Court and the National Assembly, headed by Jorge Rodríguez. This “two-pronged approach” allowed for a certain degree of formal stability to be maintained while the administration of the country’s strategic resources was reorganized and the implementation of policies to adapt to the new context was accelerated.

Coordination with Washington was immediate. On January 15, CIA Director John Ratcliffe – who just days earlier had overseen the aggressive operation alongside Donald Trump in Florida – visited Caracas and met with Delcy Rodríguez. A few days later, the reform of the Organic Law on Hydrocarbons was presented and approved. This timeline reveals an almost symbiotic alignment between Venezuelan authorities and the US administration aimed at ensuring that oil wealth flows under the empire’s supervision, while simultaneously safeguarding the interests of large corporations and international creditors. Whether this link is the result of betrayal or capitulation is, for now, irrelevant. However, what is becoming clearer every day is that, if this were a tactical retreat, it seems unlikely that it could be corrected without strategic direction. And the latter appears to be beyond the reach of the country’s new authorities.

The liquidation of oil sovereignty: from Chávez to Delcy Rodríguez

The recent reform of the Organic Law on Hydrocarbons (LOH) is not a minor amendment to the previous law, but rather the culmination of a process of gradual neoliberal regression that finally took shape in the substantial repeal of the 2001 law – a cornerstone of the Chavista social project and a historic achievement in the assertion of Venezuelan sovereignty.

The original 2001 law, enacted by Hugo Chávez as an Enabling Law, alongside subsequent reforms in 2006 and 2007, marked the peak of Venezuela’s oil nationalization. It established exclusive state ownership of hydrocarbons in the subsoil, PDVSA’s monopoly on international marketing, majority state control in all joint ventures, state planning of investment, and the priority allocation of revenue to social development.

Throughout the various phases of Maduro’s administration, and in the face of the economic crisis caused by brutal US-led sanctions, revenue-seeking policies were implemented in an effort to secure liquidity and foreign currency, which gradually eroded the Chavista socioeconomic structure. This laid the groundwork for the gradual privatization of national resources, even though commercial control and ownership of the oil remained formally in the hands of the state.

Furthermore, during the 2019–2024 period, Maduro granted operating licenses to Chevron and other foreign corporations that allowed for direct exploitation and marketing in certain areas, setting precedents for private control over production. These agreements, presented as “temporary exceptions” to revive output and alleviate the social burden of sanctions, established the framework of dependency that the 2026 reform ultimately consolidated legally.

The January 2026 reform promoted by the Delcy Rodríguez administration, designed in accordance with the requirements of January 9 Trump administration Executive Order 14373, completes this process of erosion and represents a substantial rollback of the economic foundations of Chavista social transformation. Many of the changes introduced reflect mechanisms imposed under the Anti-Blockade Law (2020) and the Special Economic Zones Law (2022), which loosened restrictions on the private sector’s role, primarily through broad tax exemptions and trade incentives, while the 2026 LOH eliminates any remaining obstacles to private operational control of that sector. Or, in other words: what under Maduro were exceptions designed to circumvent sanctions – particularly pressing in the context of the pandemic and post-pandemic period – are formalized in Rodríguez’s reform to institute open subordination.

First, the exclusive state ownership of hydrocarbons in the subsoil – which the 1999 Constitution reaffirmed as an inalienable principle and which even Maduro formally upheld – has been rendered meaningless. While Article 5 of the 2001 law stated that “hydrocarbons in the subsoil are the property of the Republic,” the 2026 reform establishes that foreign private operators can acquire property rights over production from the moment of extraction, allowing them to market it directly without the state involvement that characterized the original Chavista model. The qualitative difference from the Maduro era is that this direct commercialization is now generalized across the entire sector, and the geographical and temporal restrictions that maintained a prospect of state control have been eliminated.

Second, the reform permanently eliminates the state monopoly on international commercialization. The 2001 law and subsequent reforms stipulated that PDVSA was the only entity authorized to export. The 2026 reform allows Western conglomerates such as Chevron, ExxonMobil, Shell, and Repsol to directly market all or portions of production, thereby undermining the state’s sovereign authority to decide to whom to sell, under what conditions, and at what price. Private companies now determine the destination of shipments, negotiating directly with refiners and distributors, while the Venezuelan state receives only royalties and dividends subject to external control mechanisms.

This commercial subordination is further reinforced by a restrictive framework imposed by Washington: General Licenses 46, 50A, and 52 issued by the US Office of Foreign Assets Control (OFAC) strictly prohibit Venezuelan crude oil from reaching entities based in Russia, China, Iran, North Korea, or Cuba, extending the ban to any company that maintains ties of ownership or control with individuals from those countries. Far from restoring commercial autonomy, the 2026 reform institutionalizes these barriers: while transnational corporations are given carte blanche to negotiate directly with Western refiners, all transactions with Chavismo’s historical partners remain prohibited. The Venezuelan state is reduced to collecting royalties under foreign supervision, with no capacity to direct oil flows toward those markets that for years guaranteed the sustainability of the Bolivarian project. This leads to a situation as deplorable as it is surreal, where the Zionist entity has been able to receive Venezuelan crude without hindrance, while Cuba is left helpless against Washington’s strangulation.

Third, the reform abolishes state control over investment and exploitation. The 2001 law reserved for the state the right to plan investment. The 2026 reform allows private operators to unilaterally determine investment levels, the technology to be used, and reserve policy, eliminating any need for approval from Venezuelan authorities beforehand. Foreign companies acquire the right to import equipment and personnel without restrictions, operating under a regime of fiscal and legal extraterritoriality.

Fourth, the reform dismantles the framework for protecting social investments. The 2001 law stipulated that oil revenues must be allocated primarily to economic and social development. The 2026 reform includes provisions allowing for international arbitration to resolve disputes, prioritizing the protection of private investments over any social claims. Funds derived from oil production are subject to foreign control mechanisms. 

Lastly, the aforementioned OFAC licenses effectively establish an architecture of fiscal subordination that privileges foreign interests, with Venezuelan oil proceeds deposited in US Treasury-run accounts. By accepting these licenses – and with the additional stipulations of the reform – the Delcy Rodríguez administration is effectively subject to mechanisms for external validation of its budgets.

Oil reform and foreign oversight are not isolated processes: they constitute a neocolonial arrangement disguised as economic normalization, which maintains formal sovereignty while relinquishing operational control. In strategic terms, Venezuela has gone from being an actor with a relative capacity to define its energy policy— despite sanctions and threats — to a subordinate whose critical decisions are dictated by the United States. 

Condemning Iran: geopolitical alignment as submission

Structural subordination is also evident in foreign policy. In the face of the recent imperialist aggression against Iran, launched jointly by the United States and the Zionist entity on February 28, 2026, which left more than 200 dead in the first few hours (including 148 girls killed in the bombing of an elementary school in Minab), the Delcy Rodríguez government rushed to abandon its traditional alliance with Tehran. 

In an initial statement, it took a stance condemning both the imperialist aggression and the response of the attacked country, falling into a shameful and ridiculous position of neutrality. This official statement, issued on February 28 stated that the Venezuelan government “condemns and deeply regrets that the military option was taken against Iran” and expressed dismay over the civilian casualties. However, the text then went on to refer to “Iran’s inappropriate and reprehensible military reprisals against targets in various countries in the region.” In doing so, the Delcy Rodríguez administration denied the bombed country the right to self-defense, placing the aggressor and the victim on the same level.

This statement, which Foreign Minister Yván Gil ended up deleting from his social media accounts hours later, marks a definitive break with the anti-imperialist stance that Venezuela had been building for two decades. The condemnation of the response by Tehran – a historic ally of Chavismo and high-level strategic partner since 2022 – shows that alignment with imperialism is now a fait accompli.

The Venezuelan communiqué cannot be understood without considering the context: the complete opening of the oil sector to foreign capital, the aforementioned reception in Caracas of the CIA director, and the subsequent arrival of US Chargé d’Affaires Laura Dogu as a diplomatic representative, along with visits by US Secretary of Energy Chris Wright, US Interior Secretary Doug Bergum, and the head of US Southern Command, General Francis Donovan; all within a few weeks, prior to Trump’s own recognition of Delcy Rodríguez as Venezuela’s president.

The Rodríguez administration not only hands over the oil and refuses to stand up to the empire, but also politically legitimizes US hegemony, breaking with the internationalist and popular legacy that Chavismo had always fostered, defended, and pushed forward. The condemnation of the Iranian resistance – which undoubtedly amounts to a condemnation of the entire anti-Zionist Axis of Resistance and all peoples oppressed by the colonial entity – is presented as “international responsibility” and a “commitment to peace.” The new Venezuelan administration thus disguises its surrender of diplomatic sovereignty and buries the solidarity-driven, internationalist Venezuela that Chavismo led, both during Chávez’s and Maduro’s tenures.

Cabral’s Dilemma: betrayal of the Chavista project or class suicide

To fully understand what has happened in Venezuela, it is quite helpful to examine it in light of the political theory of Amílcar Cabral, the independence leader of Guinea-Bissau and Cabo Verde and one of the most incisive thinkers of African and Third World liberation. Cabral first formulated the concept of “class suicide” in his 1964 message to Guinean militiamen, later developing it in numerous speeches throughout the 1960s and 1970s, particularly in his address, “The Weapon of Theory,” delivered at the First Tricontinental Conference of the Peoples of Asia, Africa, and Latin America, held in Havana in January 1966.

In the context of Guinea-Bissau’s liberation struggle, Cabral further developed this theory by applying it to that specific reality in his work Guinea-Bissau: An African Nation Forged in Struggle, posthumously published in 1974. The Guinean petty bourgeoisie, formed under the Portuguese colonial administration, had to choose between joining the African Party for the Independence of Guinea and Cabo Verde (PAIGC) and its peasant base, renouncing their privileges as colonial officials, or remaining on the sidelines and eventually collaborating with Portugal. Cabral had no illusions about the difficulties of this choice. The historical dilemma of this petty bourgeoisie, according to Cabral, is strictly binary: “either it betrays the Revolution or it commits suicide as a class.” There is no third way, no middle ground, and no possible compromise. Any attempt to maintain a neutral stance ends, sooner or later, in subordination to imperialism and the betrayal of national interests.

Class suicide did not mean the physical disappearance of individuals, but rather the destruction of their particular class status. It entailed a radical and conscious transformation. As Cabral explained, the petty bourgeoisie had to “renounce the class position it occupies in social life” and “integrate itself with the popular forces – that is, with the workers and the peasants.” In other words: voluntarily abandon their privileges as an intermediate class, cease to be a class separate and distinct from the people, and fully identify with the popular forces as part of a project of national and social liberation. 

The betrayal of the revolution – the other option in this dilemma – occurs when the bourgeoisie preserves its class existence and its intermediary privileges through subordination to imperialism. It does not renounce its position, does not identify with the people, and does not dismantle its networks of privilege. On the contrary, it negotiates its corporate survival with the enemy, becoming a comprador bourgeoisie. This betrayal is not always explicit or conscious. It often presents itself as “realism,” “pragmatism,” or “tacticism.” But its result is always the same: the consolidation of structural dependence and the blocking of any emancipatory project aimed at true sovereign independence, an indispensable requirement for delinking from the imperialist system.

The theory of class suicide has profound methodological implications for political analysis. First, it establishes that national liberation cannot be led by the national bourgeoisie or by the petty bourgeoisie unless they have committed class suicide. Second, it demonstrates that formal independence does not equate to real liberation if the political leadership retains its character as a subordinate intermediary class. Third, it points out that the class struggle continues during the revolutionary process and that the principal contradiction is not always between the people and external colonialism, but also between the people and their own leadership that resists class suicide.

What sets the Venezuelan case apart is that the petty bourgeoisie – whether treacherous or capitulationist – is not the traditional colonial class that Cabral analyzed, but rather a bureaucratic bourgeoisie forged in the very process of revolutionary change. Over two decades of Chavismo, this class has accumulated experience in state administration, built autonomous power networks, developed a distinct corporate identity, and created a social base of support. Class suicide would mean renouncing all this historical accumulation, dissolving into the popular masses, and reconfiguring the project from the ground up by aligning with the proletariat and the communal project. Betrayal, on the other hand, allows for the preservation of bureaucratic and clientelist power structures by adapting them to the new framework of subordination. A bureaucratic bourgeoisie that controls the state and oil revenues has its own material interests that may conflict with a direct confrontation against imperialism.

In the wake of the rapid and radical changes implemented by the Delcy Rodríguez administration that we have described, we can observe with bitterness how the national bourgeoisie has ceased to administer independence – the original purpose of the Chavista project – and has instead come to manage dependence.

All of this is being presented, as one would expect, under the guise of Bolivarian continuity, the preservation of symbols, and rhetoric about historical responsibility, all of which serve to obscure the surrender of oil revenues to imperialist control, demolishing what was once the cornerstone of the Chavista social project. This is accompanied by a rupture or abandonment of historic alliances such as with Iran and Cuba, with national resources destined for the Zionist entity without question, in a shameful capitulation to US interests.

The 2026 oil reform is the key element of this submission: state ownership of oil – a pillar of the sovereign development project – is being dismantled in favor of corporate control and placed at the mercy of the US Treasury. This constitutes a sophisticated form of neocolonial domination because it hinders resistance to the brutal imperial agenda. Indeed, the masses are not facing an enemy in the form of a foreign occupation, but rather an elite that speaks their language, appropriates their symbols and folklore, and maintains a patriotic rhetoric, all while systematically dismantling the core foundations that Chavismo built over decades in its quest for a historic break with dependency.

Conclusion

The history of liberation struggles teaches us that if the revolutionary project is the lighthouse, the revolutionary class must be its operator. As such, its cause must be anchored in a historical strategy capable of guiding even the most difficult tactical retreats. But there can be no tactical retreat without strategy, nor strategy without the material foundations on which to sustain it. Economic independence is not a mere ideological ornament of the revolutionary process: it is its condition of possibility. When a nation’s sources of wealth are handed over to the empire’s management, when the revenue that fueled the social project is subjected to external control, and when the state voluntarily relinquishes the instruments that allowed it to decide on its own development, there is no room left for future strategic maneuvering. What is presented as prudence or realism is nothing more than, at best, the institutionalization of capitulation; at worst, of betrayal. 

Those same processes of national liberation have also shown that no revolution has survived without cadres willing to take on the risks demanded by the confrontation with imperial power. Revolutionary leaders are not called upon merely to manage structures, but to embody a historic will capable of sustaining the conflict to its final consequences. In the early hours of January 3, as the Venezuelan state apparatus sealed its commitment to servile negotiation, those willing to give their lives for that cause were the Venezuelan soldiers and 32 Cuban internationalists who fell defending the presidential residence. And in that event, both brutal and symbolic, lies the essence of the dilemma Cabral articulated decades ago: in the face of imperialism, there is no lasting middle ground between class suicide and betrayal. Everything else – the rhetoric, the symbols, the appeals to tactics – are merely transient ways of naming a decision that, sooner or later, history ultimately reveals.

Joan López and Alejandro Pedregal are members of the Anti-Imperialist Network (AIN), anti-imperialist.net.

The views expressed in this article are the authors’ own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

Source: El Salto Diario

Note: there have been minor edits to the original version to clarify certain aspects of the oil reform.

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