class

WHEN it comes to flying to the States, a major airline has unveiled a huge new revamp of their planes – and it’s making it much comfier to fly long-haul.

Having flown to and from America several times over the past five years to visit family, I quickly found a love for United Airlines‘.

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The airline recently announced they were launching a brand new ‘Elevated’ cabin on their 787-9 Dreamliner between San Francisco and London Heathrow, upgrading every single class from economy to business.

This includes the rollout of the first ever new business class United Polaris Studio suites, which have more spacious seats, larger screens and Bluetooth connectivity.

I, however, was trying out United’s new Premium Plus Economy seat which they say has “elements normally reserved for business class customers” – a welcome sight when leaving gloomy London.

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There’s a total of 35 United Premium Plus seats arranged in a 2-3-2 configuration in the new cabin design, each with privacy dividers and a built-in reading light – both firsts for United Premium Plus seats.

And in all honesty, the seats felt closer to business class than economy and even better than some business class seats I’ve experienced on other airlines.

I opted for the very first row with enough room that when stretching out my legs straight, they still didn’t hit the wall in front of me.

Plonking myself down in my aisle seat – which actually felt more like an armchair – I was immediately impressed by how comfortable it was.

And then when it came to checking out the generous 40.6cm 4K OLED screen, I was excited to snuggle down and watch one of the latest film releases.

Pressing play on Wuthering Heights, I connected my Airpods to the Bluetooth to listen in to the film and placed my phone on the quartzite cocktail table between my seat and the next seat to connect it to the wireless charging.

As for the amenities, a small ‘United 100’ pouch to celebrate the airline’s centenary was on my seat featuring branded socks, an eye mask and some Vitamin C Perricone MD products.

Also on my seat was a Saks Fifth Avenue pillow and blanket, which added to my cinema experience when Wuthering Heights started to play.

When it comes to space, passengers get 96.5cm pitch and 50.8cm width, and then 15cm of recline – which while not much felt spacious enough and with the new privacy screen acting as a good headrest, I was more than comfortable.

Power outlets and bottle holders are located between the seats for added convenience too.

Located on one armrest is also a remote for the TV and a small cubbyhole where you’ll find your overhead earphones.

Of course, you can now also get Starlink Wi-Fi on United flights – even if it is just for messaging – which I have to admit was super speedy.

Another thing I love about United is that you are always fed well,

My first meal consisted of an artichoke salad and bread for starter, with roast chicken for my main and chocolate truffles for dessert.

Mid-flight, I then enjoyed a chicken burrito and before landing, tucked into another salad and a paneer curry.

In between these courses, the cabin crew were great at always ensuring I had enough water or a drink of my choosing – whether that be alcoholic or non-alcoholic.

United aims to have at least 30 planes with the new Elevated interior flying by the end of 2027.

So if you’re trying to decide which airline to go with on your next trip to the US? I’d recommend United – if you want a business class experience on a premium economy budget.

The U.S. Navy’s near-total abandonment of surface combatants with nuclear propulsion after the end of the Cold War is “one of the largest mistakes” it’s ever made, according to the service’s top officer. Chief of Naval Operations Adm. Daryl Caudle made this remark today while voicing support for the recently announced decision that the future Trump class battleships will be nuclear-powered. He also explicitly highlighted challenges the Navy has faced when it comes to fueling conventionally-powered ships taking part in operations against Iran, something TWZ recently reported on in detail.

Adm. Caudle, as well as Acting Secretary of the Navy Hung Cao and Commandant of the Marine Corps Gen. Eric Smith, testified before members of the House Armed Services Committee today. The focus of the hearing was on the Department of the Navy’s 2027 Fiscal Year budget request. The Navy disclosed that it had decided the Trump class warships will feature nuclear propulsion in its latest long-term shipbuilding plan, which was released on Monday.

“I know there have been many conversations and questions over the past few days regarding the news that the Trump class battleship will be nuclear powered. And, as you know, Virginia has a long history of nuclear shipbuilding. What specific design plans can you share at this point and can [you] speak to how nuclear power would enable this system to be successful?” Rep. John McGuire, a Virginia Republican and former U.S. Navy SEAL, asked Adm. Caudle directly.

“Sir, we walked away from surface nuclear power decades ago, and that was one of the largest mistakes the Navy ever did, and we’re bringing it back,” the Chief of Naval Operations said in response. “We need nuclear-powered surface ships to sustain combat operations with our nuclear-powered aircraft carriers.”

Though a major operator of nuclear-powered submarines, the Navy’s aircraft carriers are currently its only nuclear-powered surface ships. The service previously had a mixture of nuclear-powered surface combatants. This included three one-of-a-kind ships, the cruiser USS Long Beach, the destroyer USS Truxtun (later recategorized as a cruiser), and the frigate USS Bainbridge. There were also two California class and four Virginia class cruisers, the latter not to be confused with the subsequent Virginia class of attack submarines. All of these ships entered service in the 1960s and 1970s. Expensive and complex to operate compared to similar conventionally-powered ships, they were all retired in the 1990s as part of post-Cold War drawdowns across the U.S. military.

As Caudle highlighted, the central benefit of nuclear propulsion is functionally unlimited range since naval reactors can operate for decades without needing to be refueled. In the context of modern ships packed with ever-more advanced weapons and other systems, it can also offer an important boost in onboard power generation. As noted, this does come at a cost. Today, Russia is the only country anywhere in the world with a nuclear-powered surface combatant, the Kirov class battlecruiser Admiral Nakhimov. In terms of nuclear-powered surface naval ships of any kind, the French aircraft carrier Charles de Gaulle is the only other example. Russia also has several nuclear-powered icebreakers, but these are operated by the state-run nuclear company Rosatom.

“Imagine what that would have looked like in the Arabian Gulf if I’d had a nuclear-powered battleship there to give the air and defense and fires [sic] power that it could sustain – rotate ships that roll, that need gasoline around it,” Caudle continued today in his response to Rep. McGuire’s question. “So the imperative for this is crucial to develop that level of payload capacity.”

Navy officials have already acknowledged that Iranian attacks on friendly countries in the Middle East in the course of recent operations significantly disrupted established logistics chains. In particular, this impacted how the service delivered fuel to conventionally-powered warships in the region, as you can read more about here.

Threats to fuel supplies would be something the Navy would have to take into account in any future conflict, especially a high-end fight against China across the broad expanses of the Pacific. There are other logistics requirements that nuclear ships do still have in common with their conventionally-powered counterparts, as well, such as food for the crew and fuel for any embarked aircraft. Even with nuclear propulsion, maintenance and other requirements mean that ships cannot stay at sea indefinitely.

“We intend to, with all we can do, use pull-through technologies, [including] things from that we’ve worked on with DDG(X),” the Navy’s top officer added, speaking about the plans for the Trump class specifically. “It will have the SPY-6 radar. It will have the Baseline 10 Aegis combat system. It will pull through, of course, the A1B Ford class reactor plant and all the design that goes with that. The only thing inherently new to it will be the actual hull itself, and so most of the fixtures in it. And I would say the directed energy [weapons] and up gunning, that will also be new.”

Caudle had first shared the A1B reactor detail at another budget-related hearing earlier this week. It was previously known that the Trump class battleship program would leverage prior work done in relation to the now-defunct DDG(X) next-generation destroyer.

Multiple types of laser-directed energy weapons, as well as an electromagnetic railgun, are core elements of the planned armament package on the future Trump class warships. They are also set to be loaded with a mix of nuclear and conventional missiles, including hypersonic types, in several large vertical launch system (VLS) arrays, and have a pair of traditional 5-inch naval guns.

The Navy has previously stated that the battleships, now also referred to as BBGNs, will displace approximately 35,000 tons. This is very roughly three times that of the newest Flight III subvariant of the Arleigh Burke class destroyer. The Trump class vessels are expected to 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, as well.

It is worth noting here that Caudle’s comments today represent a huge change in tone from how he had previously talked about the prospect of nuclear propulsion for the Trump class. Speaking to the press at the Surface Navy Association’s (SNA) main annual symposium back in January, he had notably appeared to downplay the possibility.

“I think it’s a logical question to think, hey, here’s a big capital ship. It’s going to be carrying a lot of load, you know, in places that we don’t necessarily need a strike enforcement air wing as a large ship there that’s in command of a flotilla,” he said at that time. “Wouldn’t it be logical to be nuclear powered? And that brings a tail to the construction of that that [sic] just really fell outside the scope of what we want to do on the speed to get this thing in the water. And so what you trade off with, with persistency that only nuclear power can do, is you end up having, you know, the ability to go produce that — it pushes the battleship into a timeframe that just didn’t meet the operational need of the ship.”

Just last month, former Secretary of the Navy John Phelan had also said making the Trump class ships nuclear-powered was unlikely, citing the need to balance cost and complexity against aggressive schedule demands. Phelan was fired unexpectedly just two days after making those comments. There have been reports that disagreements over plans for the battleships, specifically, as well as other friction within the Trump administration, factored into his dismissal.

“He’s a very good man. I really liked him, but he had some conflict with, not necessarily with [Secretary] Pete [Hegseth], but with some other[s],” President Trump said about Phelan while speaking to the press on April 23. “He’s a hard charger, and he had some conflicts with some other people, mostly as to building and buying new ships. I’m very aggressive in the new shipbuilding.”

As it stands now, the Navy still does not expect to order the first Trump class battleship until Fiscal Year 2028 and or see that ship enter service before Fiscal Year 2036. The first example, at least, currently has an estimated unit cost of around $17 billion, which is considerably more than the projected price tag of any of the next four Ford class aircraft carriers.

Even before the nuclear propulsion decision was announced, TWZ had raised numerous questions about the plans for these warships, including their exact operational utility, as well as the costs and risks involved. Caudle’s comments today about leveraging pull-through notwithstanding, nuclear-powered ships are inherently complex and expensive, which are the tradeoffs for the aforementioned boost in capability. A specialized workforce and supply chains are required to build such vessels. Newport News Shipbuilding in Virginia, a division of Huntington Ingalls Industries, is the only yard in the United States currently building surface ships with nuclear propulsion, in the form of new Ford class carriers, all of which have suffered delays.

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There are two more yards in the country that make nuclear-powered submarines, both of which are already under strain to meet Navy demands. There is a particular need to keep on schedule with the new Columbia class nuclear-powered ballistic missile submarines to avoid any gap in capacity when it comes to the sea leg of America’s nuclear deterrent triad. Additional plans now to supply Virginia class submarines to the Royal Australian Navy, which Adm. Caudle said today he vehemently supports, can only further add to that workload.

The U.S. naval shipbuilding industry, collectively, has other demands to keep churning out conventionally-powered warships like Arleigh Burke class destroyers, as well. This is an industry that has contracted to a worrisome degree, overall, since the end of the Cold War, especially when compared to the completely opposite trend that has been observed in China. Efforts to reinvigorate America’s shipyards, and the continued challenges the Navy is facing in doing so, were key points of discussion at today’s House Armed Services Committee hearing.

Adm. Caudle’s broad statement of support today for a nuclear-powered surface Navy raises the additional question now of whether the service might be interested in expanding this capability beyond the Trump class. Some of the Navy’s prior nuclear-powered surface combatants were derived from conventionally-powered designs. At the same time, any such decision would run up against the same shipbuilding capacity and other questions facing the new battleships.

Just when it comes to the Trump class, the plans for the ships could easily still evolve further, or even come to an end entirely. The timeline laid out now has the battleship program continuing well into the next presidential administration, where the fortunes of a new nuclear-powered surface navy could change dramatically.

Contact the author: joe@twz.com

After watching his mother perform in a production of “A Raisin in the Sun” at Compton Community College when he was 9 years old, Anthony Anderson knew appearing on stage would be his life’s work. Over the next handful of years, he enrolled in programs across Los Angeles to achieve that dream. Then, one morning after finishing a class at the Southern California Regional Occupational Center in Torrance, Anderson saw a Post-It note on a bulletin board that caught his attention. The note informed aspiring artists about a newly formed arts school. To be admitted, they had to submit an audition tape.

“I ripped it off the board, and I brought it home to my mother, and I said, ‘Mom, if I can get into this school, can I go here?’” Anderson says. “She said, ‘If you can get into that, yes.’”

Months later, Anderson received a letter informing him that he had been accepted into the inaugural class at the Los Angeles County High School for the Arts.

Founded in 1984 and opening its doors to students in 1985, Los Angeles County High School for the Arts is located on the campus of Cal State L.A. It was established to provide students (currently 550) with conservatory-level arts training and college-prep academics within the public education system. LACHSA isn’t associated with LAUSD; instead, it partners with the Los Angeles County Office of Education, which provides funding to support it.

“I felt it to be very important that I was in an environment where other students had the same passion as I did for the arts, in particular, theater,” Anderson says. “Being around other students who had the same passion and drive that I had as an artist was very influential.”

Over the years, LACHSA has featured a who’s who of alumni across various disciplines, including musicians Phoebe Bridgers and Haim, actors Jenna Elfman and Belissa Escobedo, and visual artists Robert Vargas, Tomashi Jackson and Kehinde Wiley. For the past seven years, the school has been ranked as the top public high school for the arts.

Drew McClelland (second from right) with students from LACHSA’s Cinematic Arts Program and actor William H. Macy (far right).

(Courtesy of LACHSA)

While the school’s accolades focus on the arts, LACHSA also aims to give its students experiences that extend beyond the program. Days are structured so that students take academic classes in the morning and arts in the afternoon. With this format, they meet and get to know classmates from other disciplines.

Former “SNL” cast member Taran Killam points out that this also promotes the school’s social and economic diversity, acting as a mini-college experience.

“It’s such a melting pot, but you have this beautiful, focused bonding,” he says. “It’s a rare thing for kids to know, but LACHSA students are ambitious. It’s very unifying when your background is so disparate and so diverse. It’s what makes it special, and you can’t get this experience in a traditional school.”

Lara Raj attended several arts-focused high schools as she moved during her childhood. With that in mind, the member of the girl group Katseye cites LACHSA as having a major influence on her artistic development. During her time at LACHSA, Raj took music, fashion and acting classes, and says its music tech class was her favorite. There, she learned how to create beats and write songs.

“I developed my songwriting and fell in love with it through those classes,” Raj says. “I was excited to go to school every day. And I hate school.”

Before attending LACHSA, singer-actor Josh Groban didn’t know a school specializing in the arts was an option. After bouncing around schools and realizing he needed a different education to express himself equally academically and artistically, he ended up at LACHSA. There, he found like-minded, artistically inclined outsiders.

Josh Groban, a former student of LACHSA, credits the institution with helping him find his voice.

(Christina House / Los Angeles Times)

“I was a kid who didn’t quite know how to fit in,” Groban says. “Then at [LACHSA], I was surrounded by other students who, I think, didn’t know how to fit in either. We were there for the same reasons, which is that we felt like we needed the nourishment of the arts and being able to express ourselves on a daily basis.”

Half of LACHSA’s funding is provided by the state, with the rest provided by the LACHSA Foundation, a registered 501(c) (3). According to its executive director, Trena Pitchford, the foundation has invested $1 million each school year.

“People always ask me when I tell them I went to LaGuardia and to LACHSA if they were private schools,” Raj says. “I tell them it was created by people who are passionate about the arts and want to inspire kids.”

“There’s a part of LACHSA that I think is a discovery point for a lot of Los Angeles County, and even the nation,” Pitchford says. “There’s so much opportunity for the school, and they’re doing it on a limited budget. What would happen if they were fully funded? What would happen if the foundation had a $40 million endowment? That would fully sustain what they’re doing right now.”

LACHSA students posing in front of the entrance to the Greek Theatre

(Courtesy of LACHSA)

LACHSAPalooza, the culmination of the foundation’s two-year fundraising campaign to celebrate the first 40 years of LACHSA, will take place at the Greek Theatre on May 30. There, student artists will perform alongside Ozomatli, Jon B., April Showers and more. From a fundraising standpoint, the foundation has high hopes of raising $2.5 million.

“We have both annual goals in terms of investment as well as sort of big visions, big dreams of where we think LACHSA could go for the next 40 years,” Pitchford says. “We also hope to put LACHSA on the national stage.’

The honorees for the night are the late Pat Bass, LACHSA’s gospel choir director, retiring LACHSA theater department chair Lois Hunter, and Jerry Freedman, a longtime social studies teacher at the school.

For Anderson, who is serving as the night’s host, seeing Freedman recognized is very meaningful.

“He was there from the school’s beginning,” Anderson says. “He was there when I started, and he’s still there and is still beloved by the students 40-plus years later. I’m looking forward to honoring him.”

As an arts-based school in the long-standing entertainment capital of the U.S., LACHSA can educate and enable the next generation of artists to discover their voices in the backyards of production companies, studios and record labels.

“The freedom that a LACHSA student gets on the campus to discover who they are is exciting,” Pritchard says. “It’s very innovative, very creative, and it’s forward thinking, future forward. It’s an exciting and thrilling place to be.”

Alumni agree. Without LACHSA and, in turn, a focused public arts education, pursuing a career in the arts would have been more difficult and more costly.

“It helps develop souls to be fully fledged human beings who feel like they can go off into the world and be the best versions of themselves,” Groban says. “We all felt like we were free to be who we wanted to be.”

“Specialty-focused high schools like LACHSA, be it arts or any other topic deserving of protection, because it is a gathering place for exceptionally talented, ambitious, driven kids,” Killam says. “And aren’t those the kind of people we want to be cultivating in society?”

The U.S. Navy says its future Trump class battleships are now set to be nuclear-powered. This is a huge development that will impact the cost and complexity of the design. With those issues in mind, now-former Secretary of the Navy John Phelan had said this was “unlikely” to happen just four weeks ago.

The Navy announced its intention to fit a nuclear propulsion system to the Trump class warships in its latest annual shipbuilding plan, which was released earlier today. The document also refers to these future large surface combatants as BBGNs, or nuclear-powered (N) guided-missile (G) battleships (BB). USNI News was first to report on this development.

The only nuclear-powered surface vessels in the Navy’s fleet today are its Nimitz and Ford class aircraft carriers. The service has not had a nuclear-powered surface combatant since the 1990s, when the one-of-a-kind cruiser USS Long Beach and frigate USS Bainbridge, as well as four Virginia class cruisers (not to be confused with the subsequent Virginia class of attack submarines) left active duty. Nuclear propulsion offers functionally unlimited range, as well as a major boost in onboard power generation. It also comes with cost and complexity, in terms of a ship’s core design, and what it takes to operate and maintain it. We will come back to those issues later on.

The Navy has now outlined plans to acquire 15 Trump class BBGNs, one virtually every other year, between Fiscal Year 2028 and 2055. Two are also set to be ordered back-to-back in Fiscal Years 2030 and 2031. An initial official estimate has put the price tag of each of these ships at $17 billion. This is more than what the service expects to spend on each of the next three Ford class aircraft carriers, the projected unit costs of which range from roughly $13 to $15 billion.

“Our Fleet deserves and our national security requires the most comprehensive capability a surface combatant can provide, not just what we can make do with tradeoffs. The nuclear-powered Battleship is designed to provide the Fleet with a significant increase in combat power by longer endurance, higher speed, and accommodating advanced weapon systems required for modern warfare,” the Navy’s new shipbuilding plan declares. “Adding capability at the highest end of the 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, it is not a destroyer replacement.”

The shipbuilding plan highlights various aspects of the planned arsenal on each of the Trump class warships, including its ability to launch a mix of nuclear and conventional missiles, including hypersonic types, loaded into large vertical launch system (VLS) arrays. Each one of the vessels 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.

“Vastly increased power generation capacity provides warfighting capability across the entire electromagnetic spectrum, including through electronic warfare tools and high-output lasers that allow us to reduce reliance on high-cost single-use munitions for both attack and defense,” the shipbuilding plan also notes. “The internal volume and capability to embark a fleet command staff allows us to take the Maritime Operations Center concept to sea. As a tactical command-and-control platform, the Battleship can lead a Surface Action Group (SAG), integrate its systems with a Carrier Strike Group (CSG) for layered defense, or operate autonomously, possessing the organic capability to defeat advanced threats and distributing our force capability.”

The Navy has said in the past that each of 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 are also expected to 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.

As noted, as recently as four weeks ago, the Navy was pushing back on the idea, at least publicly, that the Trump class warships could be nuclear-powered. The service’s proposed budget for the 2027 Fiscal Year, which was rolled out last month, describes the vessels as non-nuclear BBGs that will feature “diesel generators, gas turbines, [and] propulsion motors.”

“That [the $17 billion estimated unit cost of a Trump class warship] 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. 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,” former Secretary of the Navy John Phelan had also told reporters at a roundtable on the sidelines of the Navy League’s Sea Air Space 2026 exposition on April 21. “I think a little bit with those numbers, they’re still moving around, because this question is it nuclear-powered, is it not nuclear-powered?”

“It could be [nuclear powered], but it’s unlikely, but it could be,” Phelan said at that time. “I think we’re trying to understand all the proper trade-offs.”

Phelan was fired unexpectedly and with little explanation the following day, with veteran Navy officer Hung Cao taking over as Acting Secretary. On April 23, The New York Times, published a report, citing anonymous sources, saying former Navy Secretary’s sudden exit was tied to disagreements with President Donald Trump over plans for the Trump class battleships, including efforts to accelerate their production and entry into service. There have been reports pointing to other factors in Phelan’s dismissal, including friction with Secretary of War Pete Hegseth, as well.

“He’s a very good man. I really liked him, but he had some conflict with, not necessarily with [Secretary] Pete [Hegseth], but with some other[s],” President Trump himself told members of the press on April 23. “He’s a hard charger, and he had some conflicts with some other people, mostly as to building and buying new ships. I’m very aggressive in the new shipbuilding.”

“I think it’s a logical question to think, hey, here’s a big capital ship. It’s going to be carrying a lot of load, you know, in places that we don’t necessarily need a strike enforcement air wing as a large ship there that’s in command of a flotilla,” Chief of Naval Operations Adm. Daryl Caudle also said at a roundtable around the Surface Navy Association’s (SNA) main annual symposium back in January. “Wouldn’t it be logical to be nuclear powered? And that brings a tail to the construction of that that [sic] just really fell outside the scope of what we want to do on the speed to get this thing in the water. And so what you trade off with, with persistency that only nuclear power can do, is you end up having, you know, the ability to go produce that — it pushes the battleship into a timeframe that just didn’t meet the operational need of the ship.”

TWZ has reached out to the Navy for any more information it can offer about when and why the decision was made regarding nuclear propulsion for the Trump class. We have already raised numerous questions about the plans for these warships in the past, including their exact operational utility, as well as the costs and risks involved. As Phelan and Caudle previously indicated, nuclear power can only add to the design’s complexity and up-front price tag, as well as what it will take to operate and maintain the ships once they enter service. These were factors in the Navy’s past decision to move away from nuclear propulsion on surface warships. Russia’s Kirov class battlecruiser Admiral Nakhimov is the only nuclear-powered surface combatant in service anywhere in the world today. Nuclear-powered surface ships of any kind remain a relative rarity globally, as well, even among nuclear powers.

The choice now to use nuclear reactors to power the Trump class comes at a time when naval shipbuilders in the United States are already under heavy strain, and have been struggling in many cases to stay on budget and schedule. Newport News Shipbuilding, a division of Huntington Ingalls Industries, is the only yard in the country currently building nuclear-powered surface vessels of any kind, which are the Ford class aircraft carriers. While the USS Gerald R. Ford is in service now, work on subsequent ships in the class continues to be beset by delays and cost growth.

There is also immense pressure on U.S. shipyards that built nuclear-powered submarines. This has been magnified by plans to provide Virginia class boats to the Royal Australian Navy as part of the trilateral Australia-United Kingdom-United States (AUKUS) defense cooperation agreement. The same yards are also responsible for producing the new Columbia class nuclear ballistic missile submarines. Those boats have to be delivered on a tight schedule to ensure there is no gap in the ability of the leg of America’s nuclear triad to meet operational requirements, and there is little, if any, margin left.

The Navy has other shipbuilding plans, as well. Naval shipyard capacity in the United States, or the lack thereof, has been an increasingly worrisome issue for years now, and remains concerning despite U.S. government efforts to reverse the trend in recent years. The Navy’s new shipbuilding plan does underscore the service’s determination to avoid past shipbuilding pitfalls with the new battleships.

“Learning from the lessons of prior shipbuilding programs, the Battleship acquisition plan is a prime example of how we are changing the way the Navy does business. This will be the first clean-sheet surface combatant designed in more than 30 years, and we are deliberately incorporating modern digital engineering, advanced production practices, and AI [artificial intelligence] enabled design tools to reduce cost and schedule risk from the outset,” the shipbuilding plan states. “To strengthen this approach, we are adopting proven best practices from foreign partners with advanced shipbuilding techniques. This includes front loading production engineering to ensure high design maturity before construction begins, using precision modular construction methods, and tightly integrating design, planning, and production teams to minimize rework and accelerate throughput.

“We are also applying long term production planning, rigorous process control disciplines, and deeper supplier integration to stabilize the industrial base and improve quality across distributed construction sites. Modeled on commercial shipbuilding, this digital-first approach will accelerate design, reduce manual rework, and create a direct link between design and production,” it continued. “The Battleship will employ a highly modular architecture that enables distributed construction across the industrial base while allowing U.S. shipyards to focus on final assembly, integration, and testing. This strategy strengthens workforce stability, increases industrial base resilience, and delivers a more predictable, affordable path to fielding the capability.”

As it stands now, the Navy is still planning to order the first Trump class warship, set to be named USS Defiant, in Fiscal Year 2028. The current expectation is that it will not enter service until Fiscal Year 2036. This underscores an additional point that the program will carry over into the next presidential administration (and potentially beyond). Further major changes could well be made to its scale and scope, or it could be outright cancelled, in that timeframe.

For now, at least, the Navy has settled on its future Trump class battleships being powered by nuclear reactors.

Update: 5/12/2026 –

A U.S. Navy official has now provided the following statement in response to TWZ‘s queries for more information about the decision to use nuclear propulsion on the Trump class battleships:

“The Battleship requirements entail the appropriate balance of survivability, lethality, affordability, endurance, operational flexibility, and industrial feasibility. The FY27 Navy Shipbuilding Plan’s inclusion of a nuclear-powered Battleship will provide the Fleet with a significant increase in combat power by longer endurance, higher speed, and accommodation of advanced weapons systems required for modern warfare.“

Contact the author: joe@twz.com

BRITISH Airways’ multi-million pound superjumbo refit faces certification delays over fears crew cannot safely restrain drunk passengers in its new business class seats.

The airline is in the process of upgrading its Airbus A380 fleet with its latest Club Suite, which comes with a sliding privacy door.

But the makeover could hit delays because of concerns over how staff would deal with an air rage passenger on the upper deck.

BA plans to move a small section economy seats off the top floor and replace them with a larger Club World cabin.

Its passenger restraint kit is understood to be approved for economy and premium economy seats – not the new suite-style business seats.

That could leave crew with a major problem if a passenger became violent or disruptive upstairs.

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Sources said hauling a violent passenger down the A380’s narrow staircases could put crew and other passengers at risk.

The first aircraft are currently being worked on in Manila, Philippines, as part of the refurbishment programme.

Industry sources have also suggested there may be certification concerns over the weight of the new business seats, which include motors and sliding doors.

Extra weight on the upper deck could affect the plane’s payload limits.

However, any delay may also be linked to wider supply chain issues affecting premium aircraft seats across the industry.

British Airways said the A380 refit programme remains on schedule for 2026.

“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.

“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.

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.

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 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.

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.

(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.”

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.

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.

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.”

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.

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.”

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.”

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)

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

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.

“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)

“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.”

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.

“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

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.

“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.

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.”

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.

“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.

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.

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 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.

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.

“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

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).

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.

“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.

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.

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.”

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.

“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

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.

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

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. 

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.

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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. 

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.  

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.  

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,

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.

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.

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.

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.

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.

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.

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.

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.