end

The best coming-of-age stories derive their power from being endings as much as beginnings. There’s often a clarifying, poignant harshness in the losses they depict. That applies — with sobering grace — to the memory ballad “Amrum,” set on Germany’s titular North Sea island in 1945, when the winds of a world war’s conclusion blow into a 12-year-old boy’s life with unexpected consequences.

The movie bears a curious credit: “A Hark Bohm film by Fatih Akin.” Bohm, who died last year at 86, was a highly respected film writer, actor and academic, a veteran of Germany’s New Wave. Realizing he’d be unable to direct his fictionalized childhood remembrance, he entrusted it to his mentee Akin, the firebrand behind modern German classics such as “Head-On” and “In the Fade.” The project became, according to Akin, like “adopting a child.”

In story terms, that child, a stand-in for Bohm himself, is wide-eyed, sensitive Nanning (well-cast newcomer Jasper Billerbeck), who works in the potato fields of local farmer Tessa (Diane Kruger, in a small but key role). At home, he has a pregnant mother, Hille (Laura Tonke), aunt Ena (Lisa Hagmeister) and two younger siblings, but not the high-ranking Nazi officer patriarch who relocated them from bombed-out Hamburg to an ancestral house on this tiny, beachy outpost. Pejoratively dubbed a mainlander by even the friendliest neighbors and generally viewed with suspicion for his family’s Nazi ties, Nanning is assured by his ideology-soaked mom that their roots, their “bloodline,” make them real Amlumers.

The boy’s first real lesson in the shifting sands comes when, at dinner, he remarks that the war will soon be over, intending it as good news — Dad could come home. Yet his mother reacts as if he’d sided with the enemy by wishing defeat. Later, with the news of Hitler’s demise, she sinks into a depression, refusing food unless it’s white bread, butter and honey, all in scarce supply. So Nanning sets out to secure her the necessary ingredients, as if the fabric of his world depends on it.

What follows is a tightly told fable-like journey built around the war-battered realities of survival when everyone’s tired, hungry and irritated. There are brutal truths in store for Nanning about what his family represents. It’s an evolving boyhood, framed with unshowy elegance by cinematographer Karl Walter Lindenlaub against the island’s flat, grassy, weather-rich horizons. “Amrum” avoids the sentimentality baked into so many childhood-during-wartime stories. Akin, as if inspired by the unfussy youthfulness that marked Italian neorealism and the New Waves in both France and Iran (there are shout-outs to “Bicycle Thieves” and “The 400 Blows”), zeroes in on the steady accumulation of detail rather than the trappings of cuteness or melodrama.

That measured approach, exemplified in star Billerbeck’s arresting simplicity and the many fine supporting turns around him, allows us to clock Nanning’s growing awareness of what matters to others, what’s impossible to ignore and how to interpret an unjust world that’s still full of beauty and kindness if you know where to look. Which, of course, includes inside himself.

Near the end, “Amrum” serves up a wonderfully understated moment: Nanning is invited to celebrate the war’s end with a small group of dancing, drinking islanders. He hangs back, though, as if not quite ready to choose their joyous relief over obediently tending to his broken family. But you can see this dutiful son’s wish to be one of them. For all of us wondering when an ugly time will fade, the moment will resonate like a cautious, dawning hope.

The third season of Apple TV’s “Shrinking” concludes with Jimmy (Jason Segel) being, well, “Jimmy-ed.”

For three seasons, Jimmy, a therapist grieving the loss of his wife, has used unconventional methods —think taking someone with aggression issues to a boxing ring — to get through to his patients. In the last moments of “And That’s Our Time,” Jimmy’s mentor and fellow therapist Paul (Harrison Ford) turns that approach on its namesake, flying across the country to give Jimmy a much needed push to move forward with his life. “Jimmy needed permission and encouragement from someone to say, ‘All right, it’s time,’” Segel says. “This is the end of this story and it’s time to start a new one.”

In the scene, Paul finally tells Jimmy he’s like a son to him. “I found ourselves writing a conversation that if we were lucky enough to have a conversation like that with our own fathers, we’d be grateful,” executive producer Bill Lawrence says. “A lot of my shows have an element of mentorship in them. To see Jimmy’s mentor come through for him in the way that I would always hope he would meant a lot to me.”

Lawrence had always envisioned the three-season arc for Jimmy ending this way. But when they found out the comedy would be returning for a fourth season, he and his fellow executive producers were faced with a dilemma: End the season the way they would have the series or push their original ending out for one more season. After much discussion, they decided to stick the landing.

“It still felt right,” Lawrence says. “This particular story with these characters has been told and you should feel, in a good way, like it’s gonna be OK for Jimmy. Jason is so good at it, watching him play the agony of trying to get through it all and come out on the other side was my favorite kind of journey on the whole show.”

Segel spoke to The Envelope about filming this pivotal scene and bringing the third season to a close.

What did filming this final scene mean to you? To play this part of Jimmy’s journey coming to an end?

I’m always really interested in, “What is the dirty underneath? If we go one level deeper, what is the thing that the person is not saying?” This arc with Jimmy over the three seasons had been building up to Jimmy finally saying the actual thing, which is some version of, “Who’s gonna want me now?”

Paul answers that question by telling Jimmy that his scars are “evidence of a life well–lived.”

I had a therapist I was talking to about having to show up somewhere with people I knew from 25 years ago. I remember having a little bit of apprehension because I’ve had a twisty-turny life. I thought, “God, there’s so much to catch up on and I’m showing up covered in scars.” And this therapist said to me, just matter of fact, “What a shame it would be to show up anywhere at 45 years old not covered in scars.” And I went straight to Bill and [executive producer] Neil [Goldman], this is a year ago, and I said, “This is what Harrison says to Jimmy at the end of this arc.” And we worked it in.

What was the actual day of filming the scene like for you?

It was a difficult day. It was loud that day. There was a little bit of discombobulation on the street. There was construction and they couldn’t hold the cars right. It wasn’t the ideal environment for a scene like this where you would love to hear a pin drop. People were coming into the restaurant asking, “Are you guys open?” It almost felt like we were making a student film. And Harrison and I took a minute and we walked away from the set and we started running the scene, walking up and down the busy street to kind of acclimate ourselves. And I’m walking up and down the street with this man who I idolize and we are at that moment like equals and teammates. We have to go build this scene together. It is a real honor to have that dynamic with him.

Do you think it was important to have such a pivotal scene outdoors?

They’re a good reminder that the show takes place in the real world and that you’re like a representative of reality almost. I think that there’s something vulnerable about all that taking place outside. … There’s other patrons there. It’s surrounded by people, surrounded by life, and Paul is showing up and telling Jimmy, “It’s time to step into it. Look, it’s all around you.”

This season we met Jimmy’s father (played by Jeff Daniels), who never really connected with his son and, in a heartbreaking moment, chooses a fishing trip with his buddies over staying for Alice’s (Lukita Maxwell) high school graduation.

One of the things this show does really well is handle these situations honestly. Whether it’s Parkinson’s or loss or a complicated relationship with a family member. It’s not gonna magically change. None of it. And so the show is very much true to, “How do we get through it with each other?” That’s really the theme of the show. These issues are gonna be there. What are we gonna do with the realities of life? I think the reason they brought Jeff Daniels in is to highlight why Jimmy so desperately wants Paul’s affection. Where is this coming from? Bill is a genius in terms of setting something up in a previous episode so that there’s a payoff in the finale. I think that we understand suddenly how desperate Jimmy is to have somebody say, “You’re my son and I love you.” And he finally gets that at the end from Paul.

The other major event that happens in the finale is that Alice leaves for college.

To me, [Jimmy’s relationship with Alice] has been the heart of the show and the most important storyline. The show started out with Alice parenting a troubled child in her father. And that dynamic slowly, slowly, slowly shifted to being the right direction. Until finally he is able to see her off to college and she feels safe to leave him behind. He is the parent and she is the child and everything is the right size again. I think watching Lukita as an actor and a human being grow up over these past four years, it’s been really the joy of my career. When I met her, she called me Mr. Segel. I realized she grew up with my “Muppet” movie. I have the real honor of being more of a mentor than a contemporary to Lukita. To get to the point where I am being surprised and challenged and blown away and moved to tears in scenes with Lukita is like the coolest thing in the world.

Cobie Smulders and Jason Segel in “Shrinking.”

(Apple TV)

We see Jimmy sit down at the restaurant with his potential love interest Sofi (Cobie Smulders), but we don’t hear their conversation.

It originally ended with a hard cut to black. Then then they did this beautiful cinematic pullback. I think the most important line is, “Hello.”

As the scene ends, Paul tells Jimmy that he can either “stay stuck” or “go make new scars.” Paul advises Jimmy to “choose wisely” and then winks at Jimmy. It’s a subtle nod to the famous “choose wisely” scene from “Indiana Jones and the Last Crusade.”

Harrison is not so secretly one of the funnier people I know. He always knows exactly what he’s doing and we’ve had a few of those throughout the season, some little nods to Harrison’s body of work. It was a perfect way to end that scene. Paul slash Harrison is always just a little smarter than you. One of the great qualities that they have is they’re just a little bit ahead of you, which a great mentor should be, right?

Have you thought about how it will be to play Jimmy in the show’s fourth season now that this particular story arc has come to an end?

I think an equally interesting and complicated and fun area is someone deciding they’re ready to be happy. Because God knows it’s one thing in your house alone in front of the mirror [to say], “Now I’m gonna be happy.” And then you go out and in practice, it’s its own set of complications, right? And so, I’m actually really excited about that idea of someone saying, “OK, I’m ready to take it for a spin.” And then seeing that’s its own thing.

WASHINGTON — U.S. Immigration and Customs Enforcement acting director Todd Lyons, a key executor of President Trump’s mass deportations agenda, will resign at the end of May, federal officials announced Thursday.

Homeland Security Secretary Markwayne Mullin announced Lyons’ departure, calling him a great leader of ICE who helped to make American communities safer. Mullin said Lyons’ last day will be May 31.

“We wish him luck on his next opportunity in the private sector,” Mullin said in a statement. The Department of Homeland Security did not immediately respond to an email from the Associated Press asking why he is resigning.

Lyons, who was named acting director in March 2025, led the agency at the center of President Trump’s plans to reshape immigration to the U.S.

Under his leadership, the agency was granted a massive infusion of cash through Congress, which it used to expand hiring and detention capabilities, and it ramped up arrests to meet demand from the administration.

ICE was also central to a series of high-profile immigration enforcement operations in American cities, including Chicago and Minneapolis, a deployment that ended after backlash erupted over the deaths of two American protesters at the hands of federal immigration officers.

Stephen Miller, the president’s deputy chief of staff and the main architect of his immigration policy, called Lyons a “dedicated leader.”

“His courageous work at ICE has saved countless thousands of American lives and helped deliver safety and tranquility to millions of Americans,” Miller said in a statement.

White House spokesperson Abigail Jackson described Lyons in a post on X as “an American patriot who made our country safer.”

It’s not clear who might replace Lyons. But whoever does will take over an agency flush with cash while still a flashpoint for controversy. ICE is at the center of a battle in Congress, with Democratic lawmakers demanding restraints on immigration officers before agreeing to restore routine funding for DHS.

On Thursday, Lyons, along with two other top immigration officials, appeared before a House subcommittee to argue for his agency’s budget and faced continued scrutiny from lawmakers of ICE’s actions.

Lyons’ departure also comes as DHS is under new leadership after Trump fired former Secretary Kristi Noem, who led the department through the administration’s major immigration policy changes.

Mullin, who took over as secretary last month, is likely to continue to advance the president’s agenda but has struck a softer tone on some of the administration’s most contentious policies.

Public perceptions of ICE during Lyons’ tenure were low. In a February AP-NORC poll, most U.S. adults, including independents, said they have an unfavorable view of the agency.

Lyons faced questions in Congress over the shooting deaths of Renee Good and Alex Pretti and was asked if he would apologize for the way some Trump administration officials characterized Good as an agitator. He declined to do so.

“I welcome the opportunity to speak to the family in private. But I’m not going to comment on any active investigation,” Lyons said.

Lyons said he had seen video that captured Pretti’s shooting but said he could not comment, citing an active investigation.

Lyons, who joined ICE in 2007 as an immigration enforcement agent in Texas, signed off on a memo, first obtained by the Associated Press, that granted federal immigration officers sweeping powers to forcibly enter homes and make arrests without a judge’s warrant.

Trump’s border advisor Tom Homan described Lyons as serving selflessly and “a highly respected and effective acting Director of ICE.”

Goldenberg and Golden write for the Associated Press. Golden reported from Seattle.

WASHINGTON — Democrats who once saw retaking the U.S. Senate as a long shot in 2026 have newfound hope thanks to an unpopular president and a California donor machine that has snapped into action.

Californians provided the most out-of-state cash to Democrats in nearly every hotly contested race, and in several cases gave more than in-state donors, according to a Times analysis of campaign finance filings covering the first three months of 2026.

Sen. Jon Ossoff of Georgia, who took in more than $14 million overall, received nearly as much from California backers as from supporters in his home state among donors who contributed at least $200 and whose identities were disclosed.

James Talarico, a Democratic Senate candidate in Texas, has raised a staggering $27 million so far this year, with California donors contributing just under $1.2 million to back his campaign — second only to Texas supporters among those donors whose names were disclosed.

Donors who give less than $200 are not required to be identified in campaign finance reports and made up a significant share of the donors to Ossoff’s and Talarico’s campaigns.

Republicans currently have control of the Senate with 53 of the chamber’s 100 seats. This year 35 seats are at play, including special elections in Florida and Ohio.

GOP still winning a key cash race

While more of the seats up for grabs are in Republican hands, polling showing the potential for tight races in several of them has given Democrats hope that they might be able to shrink or reverse their deficit in November.

Top Democratic candidates have out-raised their GOP rivals in the most competitive Senate races, but Republicans are winning the cash race among big-money committees that can accept checks far larger than the $7,000 cap on donations to candidate committees.

Those Democratic candidates have continued a tradition of relying on donors in the country’s most populous state to bankroll their campaigns.

“California has been a rich gold mine for many a candidate and continues to be that,” said Michael Beckel, director of money in politics reform at Issue One, a bipartisan advocacy group.

Democratic Senate candidates in a few races raised more from California donors than from donors in their home states, according to campaign finance reports filed Wednesday.

Democratic former Rep. Mary Peltola of Alaska, who is challenging incumbent Republican Sen. Dan Sullivan, brought in nearly $900,000 from California donors who had contributed at least $200. Alaska donors contributed just over $520,000 to Peltola in the same time period.

Two of the three leading Democratic hopefuls in Michigan’s open Senate race, Rep. Haley Stevens and physician Abdul El-Sayed, reported taking in more from California donors than from donors in Michigan. California was the second biggest bank of support for the other top Democratic contender, state Sen. Mallory McMorrow.

And in Nebraska, independent Dan Osborn, who is challenging incumbent Republican Sen. Pete Ricketts, took in $80,000 more from disclosed California donors than from Nebraskans.

Dozens of California donors gave to at least five Senate candidates across the country, according to The Times’ analysis of the filing data.

Burbank playwright and screenwriter Winnie Holzman has donated to Democratic candidates in nine key races and said she has been inspired to give to them — and other candidates and political groups — because of concerns about the policies of President Trump’s administration and what she sees as its violation of the law.

“This isn’t just about who is in the Senate,” said Holzman, who wrote the script for the play “Wicked” and co-wrote its movie adaptations. “But if enough Democrats were in the Senate right now, there would be a lot more ability to push back on this.”

The impressive fundraising hauls by Democrats come with a significant caveat.

The two most prominent political committees that support Republican Senate candidates — the party-affiliated National Republican Senatorial Committee and the Senate Leadership Fund super PAC, have both outraised rival Democratic groups by a significant margin this cycle.

For the NRSC, an $11.5-million fundraising advantage since the start of 2025 has translated to a modest $2-million advantage in cash in the bank through the end of February compared with the Democratic Senatorial Campaign Committee.

But the Senate Leadership Fund, which can accept unlimited amounts of cash from donors, had $91.6 million more to spend at the end of March than the Democratic rival Senate Majority PAC.

And the pro-Trump super PAC MAGA Inc. had a stunning $312 million in the bank at the end of February.

Money raised by candidate campaign committees does, however, bring some advantages over money raised by other committees. Most significantly, candidates are able to buy advertising at cheaper rates than other political committees.

That is an important distinction in a year when advertising spending in Senate races is expected to top $2.8 billion.

The Senate map

While political analysts expect that Democrats will likely perform well in congressional races — with early signs pointing to a strong possibility that the party regains control of the House — winning control of the Senate would be a much taller order.

“The Senate is going to be won or lost in red states,” said Kyle Kondik, managing editor of Sabato’s Crystal Ball at the University of Virginia’s Center for Politics.

Even in the best-case scenario for Democrats, to retake control of the chamber they would probably need to win in at least two states such as Iowa, Alaska, Ohio or Texas, all of which went to Trump in the 2024 presidential election by double-digit margins.

With the vast sums likely to be raised — and spent — by both sides, Kondik said that fundraising can reach a point of diminishing returns.

“You’d rather have more than less, obviously, but the actual effect is pretty debatable,” he said.

And history shows that fundraising prowess doesn’t necessarily translate to electoral success in November.

Take the example of Texas Democrat Beto O’Rourke.

In his 2018 challenge of incumbent Republican Ted Cruz, O’Rourke brought in more than $80 million, more than double Cruz’s fundraising haul of $35 million.

But it wasn’t enough to put the then-congressman from El Paso over the top.

O’Rourke lost the race by about 2.5 percentage points.

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

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

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

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

(Troy Conrad)

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

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

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

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

Ali Siddiq appears in Chapter 7.

(Troy Conrad)

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

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

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

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

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

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

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

(Troy Conrad)

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

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

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

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

It was do or die Wednesday night at Intuit Dome and the Clippers did not do enough to keep their season alive, blowing a 13-point lead early in the fourth quarter and losing to the Golden State Warriors, 126-121.

Having rebounded from a franchise-worst 6-21 start to earn the next-to-last berth in the NBA play-in tournament, coach Ty Lue’s resilient bunch could not extend its historic comeback on its home floor.

Stephen Curry led the Warriors with 35 points, Kristaps Porzingis and and Gui Santos each had 20 and Brandin Podziemski added 17. The Warriors were 19-of-41 from 3-point range.

Bennedict Mathurin scored 23 points while Kawhi Leonard and Darius Garland each added 21 points for the Clippers, who won three of the teams’ four regular season meetings, including a 115-110 victory in the same arena four days earlier.

The Clippers got off to a hot start, scoring 12 straight points to take a 10-point lead 3:19 into the game but Golden State used a 12-2 run of its own to tie it and took a 17-16 lead on Curry’s three-pointer just before the seven-minute mark. A 15-5 run put the Clippers back up 31-22 at the end of the first quarter.

Steph Curry falls to the court to grab a loose ball against Clippers Bennedict Mathurin and Kris Dunn in the third quarter.

(Allen J. Schaben / Los Angeles Times)

Porzingis’ three-pointer from the top of the key put the Warriors in front early in the second quarter but the Clippers closed the first half with a flourish. Draymond Green got assessed a technical foul and Leonard made the ensuing free throw to give his team a 10-point lead and the Clippers headed to the locker room ahead 61-53.

Back-to-back buckets by Jones Jr. pushed the Clippers’ lead to 10 points with 7:48 left in the third quarter, but again the proud Warriors responded on a rare four-point play by Curry to pull within four. The Clippers pushed the lead back to 11 before Golden State used a 5-0 run to creep within 89-83 heading to the fourth quarter.

Porzingis’ three-pointer whittled the Warriors’ deficit down to three with 8:16 left but Garland’s three-pointer pushed the margin back to eight with 6:36 left. Al Horford’s three-pointer gave the Warriors a 117-115 lead with 2:12 left, Lopez hit a pair of free throws to tie it with 1:51 left, but Curry, as he has done so many times in his career, sank a three-pointer to put his team up 120-117 with 50 seconds remaining and the visitors hung on.

IKawhi Leonard walks off the court after the Clippers’ season-ending loss.

(Allen J. Schaben / Los Angeles Times)

The Warriors’ reward is a flight to Phoenix where they will take on the Suns in a Friday night matchup to decide the eighth and final playoff seed in the Western Conference. The Suns had a chance to clinch the No. 7 seed Monday but lost at home to Portland, 114-110. Should the Warriors prevail they will meet No. 1-seeded and defending champion Oklahoma City in a best-of-seven series opening Sunday on the road.

PHOENIX — The greatest team in UCLA women’s basketball history has earned its crown.

With a 30-point lead by the end of the third quarter, much of the end of Sunday’s NCAA championship victory was a celebration of what UCLA had built en route to its 79-51 victory over South Carolina.

By the final buzzer, it was a full-blown party.

It was one of the largest margins of victory in Final Four history.

UCLA won an AIAW title in 1978 against Maryland before women’s basketball was an NCAA sport.

UCLA’s Kiki Rice, right, drives around South Carolina’s Raven Johnson during the first half of the NCAA national title game on Sunday.

(Ronaldo Bolanos / Los Angeles Times)

Last season, UCLA’s 34-point loss to Connecticut in the semifinal became the worst loss in tournament history.

This season, there was no doubt UCLA was ready for the moment and it ensured it could reverse the history books.

It was perhaps the most UCLA performance the Bruins could have had. In their final collegiate games, Lauren Betts (14 points, 11 rebounds) and Gabriela Jaquez (21 points, 10 rebounds) earned double-doubles and all five starters scored in double digits. They dominated the boards (49-36), played stellar defense and most important, didn’t turn the ball over often.

After the Bruins held Texas to a season-low 44 points in Friday’s semifinal, they held the Gamecocks to 51, also their lowest total all season.

UCLA’s Lauren Betts shoots over South Carolina’s Maryam Dauda in the first half of the NCAA national championship game Sunday.

(Ronaldo Bolanos / Los Angeles Times)

The Bruins jumped out early while South Carolina struggled with the Bruins’ size and went three for 18 from the floor. Kiki Rice (10 points, six rebounds, five assists) hit a buzzer-beating three-pointer to end the opening quarter with the Bruins holding on to a 21-10 lead.

Near the end of the first, Betts came back to the bench coughing and sputtering, seemingly unable to clear her throat. At the start of the second quarter, she was at the end of the UCLA bench and used an inhaler before returning to the game.

UCLA’s suffocating defense held the Gamecocks to 25.7% shooting in the first half. Unlike Friday’s win over Texas, the Bruins’ offense recovered from a one-for-10 stretch far earlier.

South Carolina made a mid-second quarter adjustment into a zone defense and a half-court press that forced one 10-second violation and another turnover that led to a fast-break layup and and free throw from Ta’Niya Latson.

UCLA’s Gabriela Jaquez celebrates after scoring while being fouled during the first quarter Sunday against South Carolina.

(Ronaldo Bolanos / Los Angeles Times)

UCLA led 36-23 at the half.

One of the Gamecocks’ only interior presences, center Madina Okot, had three fouls early in the third quarter. With her off the floor, UCLA extended its lead to 18 off a three-pointer from Charlisse Leger-Walker.

Midway through the quarter, a sequence of a Betts layup over the South Carolina defense, a Betts block of a Latson shot and a Jaquez fast-break layup gave the Bruins a resounding 22-point lead.

The Bruins outscored the Gamecocks 25-9 during the third quarter to earn a 61-32 lead off a 13-0 run. It was the largest lead ever for a team going into the fourth quarter of an NCAA championship game.

South Carolina shot a season-worst 18 for 62 from the floor and two for 15 from three-point range.

UCLA players, including Kiki Rice, left, and Gabriela Jaquez celebrate after winning the NCAA women’s basketball national championship on Sunday.

(Ronaldo Bolanos/Los Angeles Times)

The Bruins held Latson to four points and Raven Johnson to three on one-for-seven shooting.

South Carolina had taken down then-undefeated UConn in the semifinal on Friday.

UCLA will need to rebuild with few returners, but now that her players have won a national title, coach Cori Close should have her pick of the transfer portal.

Now, Close and the Bruins have championship pedigree.

Highlights from UCLA’s win over South Carolina in the NCAA women’s basketball national championship game.

Two days with no games allowed the Lakers to fully reset as they prepare for the final stretch of the regular season and a playoff run.

They have eight games left, starting with the NBA lottery-bound Washington Wizards at Crypto.com Arena on Monday. The Lakers will play without star guard Luka Doncic because he’s serving his one-game suspension for reaching the league limit of 16 technical fouls.

The Lakers had an early practice Sunday and that gave them a chance to make adjustments with fresh bodies and minds.

“Yeah, for me, I think, based on all of them wanting to come in at 10 a.m. on a Sunday, I think it is as much mental and spiritual and emotional,” Lakers coach JJ Redick said after practice. “We didn’t want to have these guys in here long today. But we got a lot done, watched some film and cleaned some stuff up. But there is these two days for us. It’s a great reset for us.”

Doncic got his 16th technical foul of the season Friday night during a win over the Brooklyn Nets after an exchange with Ziaire Williams, when both were given double technical fouls in the third quarter of that game.

For Doncic, who earns $45.9 million per season, the suspension will cost him about $264,000.

If he gets two more technical fouls between now and the end of the regular season, he will be automatically suspended for an additional game.

Doncic is eligible to return for the Lakers on Tuesday night when they host the Cleveland Cavaliers.

“I mean, he’s disappointed,” Redick said of Doncic. “He wants to be there for his teammates, and again, I’ve talked about this all year, like he plays. He’s not a guy that takes games off. He can be banged up and he’s gonna play. He was like that when I was his teammate in Dallas. For tomorrow, we’ve gotten, I think, some great contributions from guys that haven’t necessarily been in the nine-man rotation when we’ve been fully healthy.”

Redick spoke about how Bronny James, Jarred Vanderbilt and Maxi Kleber have all had “good moments” when they were called on for duty.

And with Doncic out, Redick said it will take a group effort to beat the Wizards.

“But we’re gonna need everybody tomorrow,” Redick said.

The Wizards have the third-worst record in the NBA at 17-56. They are second to last in the league in points allowed, giving up 124 per game.

Still, this is all about the Lakers and how they get ready for the playoffs during the final few games of the season .

Half of the eight games are against teams with records below .500.

The Lakers will face a Cavaliers team that’s making a push for better positioning in the Eastern Conference. They will twice face an Oklahoma City team that has the best record in the league and a Suns team that has a 3-1 record against the Lakers.

“That’s the thing I’ve talked about all year is you need great effort and you need great execution,” Redick said. “I think the effort part has been there very consistently for weeks now. Sometimes when the games are stacked together and travel and all that, there can be some small details, execution-wise, that can have slippage, and I think for us, especially on the defensive end, we can do some things better. But I mean, look, the last 16 games we are where we are because we’ve been really good on both ends.”

Etc.

Redick said guard Marcus Smart (right ankle contusion) and forward Adou Thiero (left knee soreness) are in “that day-to-day camp” with their injuries.

“So we’re just kind of waiting for them to feel like they’re good enough to go,” Redick said.

Ranting about the decline of comedy specials while releasing a new one at the same time feels a bit like an oxymoron. But somehow it still makes sense coming from alt-comedy pioneer David Cross, who isn’t just complaining; he’s finding his own route to making specials feel special again. The only way to do that is by putting one out in the manner he’d like to see more often — starting by making the whole crowd stand up too.

Capturing the energy of a concert at the famous 40 Watt Club in Athens, Ga., was the first step in differentiating “The End of the Beginning of the End” from the typical hour you watch on a big streamer. And, with this new special, Cross is able to get back to his own beginnings of touring across the country with love bands as his openers, performing for crowds for as long as he could until he had to run offstage to pee.

Premiering the special earlier this month on his website (and on April 7, it will be available on YouTube via production company 800 Pound Gorilla), Cross is hoping the special connects with comedy fans in a way that we’ve forgotten specials could.

This interview has been edited for length and clarity

Your new special is called “The End of the Beginning of the End.” What does that title mean to you as it relates to the impending doom of what we’re all living right now.

David Cross: Well, you can look at it in a couple different ways. To me, it signifies that the beginning of the end has occurred. And we are now at the end of the beginning of the end. And from where you go with that, that’s for you to decide.

One of the things I love about the special is the fact that you shoot it at a club in the style of a live–music concert.

I’ve shot specials in theaters and it’s just different, not that one is better than the other, but they’re just different. You have a different relationship with the audience. When I first started touring, I would go to music venues and I’d have a band open for me and then I would just go up and pretty much [perform] as long as I could until I had to pee. Sometimes I’d have a band playing, sometimes two bands, then I’d go out. And I did that a couple of times, and then stopped doing that and did theaters, and I decided for the last two specials I’m going to go to, when I shoot it, I’ll go to a music venue, and I was at the 40 Watt Club in Athens this last time, I was at the Metro in Chicago before that, both places I played on earlier tours, and, you know, it’s not seated. People are standing there at the stage, and I prefer it. It’s more fun. It’s not as lucrative but, to me, a more fun show to do.

Comedian David Cross

(Jason Armond / Los Angeles Times)

The ambience of it was great. You can hear people shouting and drinking and having a good time, and the crowd work is also a little more spontaneous and fun than it would be in a regular venue.

Yeah, well, there’s more opportunity for that. But my thing has never been about crowd work. I like engaging with it, it’s kind of a nice distraction from the set that you’ve been doing 100 times, 150 times at that point. So it’s always fun to have that thing happen and that feeling of spontaneity. And like the guy [who I talk to in the crowd during the special], I could not have asked for [someone better]. I mean, even if it was scripted, it wouldn’t have been as good. The guy who [I talk to] during the stuff about hiking Machu Picchu [with Bob Odenkirk], that’s just… [chef’s kiss].

Speaking of Bob Odenkirk, you guys have this long relationship. How would you describe the dynamic of working with Bob and just how you guys bounce ideas off each other?

I mean, it’s great. We have an inordinate amount of respect for each other, both as people and as creative partners. And so there’s never any real issues. There’s things we will definitely disagree with, but we’re both decent people. So you know somebody backs off and says, “OK, let’s do it that way.” But even then, there aren’t that many of those [issues]. We just have really worked well at building something or molding it, creating it and shaping it. And our aforementioned hike to Machu Picchu, we have a documentary about that, that will be premiering at a fancy festival at some point in the near-future. And so we got that doc and we’ve been working on that. And for the way we work now, because he lives in L.A. and I live in New York, and it’s been like that for a while, he’ll write a bunch of stuff, I’ll make notes, I’ll write my things, send it back. And so we’re able to do that and not necessarily have to be in the same room because we’ve had 30-plus years of working with each other.

It’s a kind of like an unspoken language you guys probably have in terms of comedy, which is super important, I imagine, just for collaborating.

Yeah, and it’s something we discovered very early on … before there was even “Mr. Show,” what would ultimately become “Mr. Show,” when we got together to write sketches for this bigger kind of comedy collective thing, and these shows that we would all do with each other, for each other, and the stuff that we would write together was just, like, really good, easy writing — again, one person adding this thing and one person saying here’s a switch yeah and another person adding this thing in. It was fun, it’s cool, still is. One thing he doesn’t get credit for is he’s a really decent human being. And with all the awfulness in the world that’s magnified, every sense is bombarded with it — it’s just good to be hanging with somebody whose energy is a good person, a decent person and an equitable, nice guy, so that’s good as well.

Comedian David Cross poses for a portrait ahead of his comedy special “The End of the Beginning of the End.”

(Jason Armond / Los Angeles Times)

One thing you guys also have in common is you both have kids, and he has a comedy show for kids called “The Appropriate Show.” Have you taken your daughter to see it?

It’s a sketch show [in which] all the sketches are appropriate for kids to watch. And the sketches have been done in other sketch shows onstage, live. And he puts together this thing once, twice a year here in L.A. And I took my daughter to it last year. It’s just sketches that kids can [understand]. At least if they don’t understand the actual references they get the archetype. “Oh, that’s the boss, that’s that uh… And it’s great, it’s a really cool idea uh… “ And would an ass— think of [a show like] that? No, one good decent person; a good man. But listen, this interview isn’t about me, it’s about Bob Odenkirk, so let’s get back to that.

Well, speaking of having comedy geared toward kids, your daughter’s at an age where she’s probably consumed or seen some of your comedy at this point.

Not, not really. No, no.

Do you shield her from your stuff, or are you not so concerned about it?

I don’t actively shield her, but I don’t introduce her to anything. So I was a little bummed out, and I got over it pretty quickly, but when I found out that she had seen a little bit of “Alvin and the Chipmunks,” and only because I don’t want to spoil the enjoyment of what movies are and what kids’ movies are and how things work. And I feel like that would introduce an element of reality that I want her to be able to just enjoy these things without — she’s seen “Kung Fu Panda”when she was younger, like, I don’t know, three, four, five times, has no idea that I’m in that, that my voice is in there. She knows I do stand-up, she gets that now. And when she was younger, she’d say, “Daddy’s silly for a living.” … I’m just trying to ride the balance of letting her have those childhood joys and experiences.

Comedian David Cross.

(Jason Armond / Los Angeles Times)

Does having a kid make you think about what’s coming up in the future of comedy, or what kids are gonna maybe find funny, or what they find funny now? Do you have any thoughts on kid comedy in general?

Not really. I mean, I can see that she and her friends, who are kind of like-minded, are naturally funny, and then that’s kind of encouraging and heartwarming and they’re silly, but I’ll be long gone when that generation is is providing comedy. And I’m still, although I’ve kind of given up, I’m still trying to grasp what works now. I mean, it’s short-term TikTok, Instagram stuff. There are some amazing, like really, really great things being done as far as film sketches for YouTube channels. “Almost Friday,” they’ve got genius-level stuff. I mean, really good. And where the sketch goes in a place, you’re never ahead of it, goes in a place where you’re not expecting. It’s really well written and well performed.

What are your thoughts on what a comedy special is nowadays or what it should be?

I mean, that’s a great question. I think anybody who plays with the form, whether I think it’s that funny or not, is different. But I’m happy when anybody kind of tries at least to play with a form. I just went to Rory Scovel‘s taping last week of his latest special. I don’t know when that’ll air, but if you’ve seen the beginning to his first special, stuff like that where you’re like, “Wait, what’s happening? What’s going on?” I love stuff like that.

I still get excited to watch specials by some of my favorite comics, but there’s a quality that’s missing. And these are stand-ups I love, and they’re not that great. They’re not bad but they’re not special, you know? And all those guys I mentioned, and more, have great specials. Like, you can go back and they’re great. And I don’t know why that is. I mean, there’s still funny stuff, but I don’t ever want to get to that place where its just feels a little phoned-in a little bit… that is, in part, why the last two specials were shot in this more intimate setting that feels special. And … as I said, the energy’s different, it’s a little bit different, and it’s less slick. It feels like you’re in the moment. You don’t need a million dollars to shoot a special. You don’t 28 camera angles, it‘s just bull—. And it takes something away.

Comedian David Cross

(Jason Armond / Los Angeles Times)

It all should feel the right amount of unsafe as well, I think.

That’s never gonna happen at a theater show. You’re never gonna feel that. And I don’t know, it really does feel almost like maybe we peaked in a sense, like there’s too much, and because of that, these things aren’t special. They’re not revelatory, they’re not unique. I dunno, can 18,000 people in an arena really relate to a … billionaire talking about how they’re gonna get canceled. I mean, is that a thing I guess? Those other big, slick specials that are shot in, like, a 3,200-seat, 3,500-seat theater, it just feels like, “Oh this person is up there and I’m listening to their jokes.” There’s nothing wrong with that. They’re often very funny jokes, but it doesn’t go beyond that. It’s just like, “All right, tell me your joke.” It might as well be an audio thing, you know?

Well, hopefully the robots aren’t coming for your job anytime soon.

Absolutely not. I mean, this could be naive, but I feel 100% safe that you are never going to replicate an evening of stand-up at a nigtclub like that. And not sitting down at tables while you’re having drinks and waitresses are coming by. I’m talking about everybody’s up on the stage, sold-out, maximum capacity; everybody’s there, focused, we’re all sharing that thing. You can’t. AI’s not going to be able to do that.

Yeah, the robots can’t do that, Terminator can’t do that..

Oh, I forgot about Terminator. He could do that. G— it.

During his first Cabinet meeting since launching the U.S. war on Iran, President Trump spent 10 minutes talking about the price of ceremonial White House pens — which he claimed to have brought down, from $1,000 to $5, by switching to his favored Sharpie brand.

Trump was trying to make the point during the Thursday meeting that he’s a great money saver. He seemed chipper, joking with the other leaders of his administration at the table.

Late Thursday, when asked on “The Five” on Fox News about whether Iranian people have access to basic necessities such as drinking water and food, Trump complimented the looks of Dana Perino, the Fox host who’d asked the question, compared to when he’d met her years before.

“Now I’m not allowed to say this, it’s the end of my political career, but you may be even better looking, OK?” Trump said. “You’re not allowed to say a woman’s beautiful anymore.”

He then talked about Iranian authorities killing protesters, but said he’d been pleased with them more recently because they had given him a “present” by allowing oil ships through the Strait of Hormuz.

Through both discussions, Trump maintained a flippant, casual tone — the same he has maintained since the war began a month ago, and a vast departure from that of past wartime presidents.

For weeks, Trump has batted away criticisms of the war campaign and questions about why it was justified and how long it will last. He has derided reporters for asking questions about tactics and whether he’ll deploy boots on the ground as inappropriate and foolish, and repeatedly met concerns about the human toll of the war by shrugging them off or changing the subject.

Meanwhile, his war has cost the U.S. billions of dollars and depleted its global reserves of critical weapons systems such as Tomahawk missiles, which cost millions of dollars each and are needed to maintain U.S. security around the world, according to the Washington Post.

Entering its fifth week, the war has badly disrupted markets, with U.S. stocks falling Friday as Wall Street approached the end of its fifth straight losing week — the longest such streak in nearly four years — and oil prices rising again.

Markets have fluctuated based on Trump’s changing messages on an end to the war, planned and then postponed strikes on Iran’s power plants, strikes on oil and gas infrastructure across the Middle East and Iran’s stranglehold on the Strait of Hormuz, through which a quarter of global oil usually passes.

Trump has talked in recent days about an impending deal to end the war, but so far it has not materialized, with Iran downplaying the seriousness of the negotiations. Iran instead appeared to be formalizing its hold on the strait, including by creating what amounts to a toll on ships seeking passage through the channel from its Islamic Revolutionary Guard Corps.

The number of U.S. deaths in the conflict has held steady for days — at 13 — but the war continues to exact a daily, devastating toll in the Middle East. In Iran, thousands of targets continued being hit, with the death toll ticking toward 2,000.

Speaking by video during a Human Rights Council meeting in Geneva on Friday, Iranian Foreign Minister Abbas Araghchi accused the United States and Israel of harboring a “clear intent to commit genocide” in Iran, claiming that more than 600 schools had been damaged or demolished and more than 1,000 students and teachers “martyred or wounded.”

The discussion related in part to a Feb. 28 strike on an elementary school in Minab that killed more than 165 people, most of them children, which evidence reportedly suggests was the work of the U.S. and which the U.S. says is under investigation.

Casualties also continued in Gulf nations allied with the U.S., where Iran continues to strike U.S. military installations and other infrastructure, and in Lebanon, which Israel has invaded and bombed relentlessly in its own war with the Iranian-aligned Hezbollah force.

And yet, Trump has bounced between speaking engagements and more formal meetings with an apparent lightness — seeming unbothered by the weight of the conflict and acting as if U.S. victory were already at hand.

“We’ve already won the war. Militarily we’ve totally won the war,” he told “The Five” on Thursday.

After Trump’s exchange with Perino, fellow host Greg Gutfeld began to change the topic, saying, “I’m debating whether to be serious or not serious.”

“Do you think Biden would do this interview? Can you imagine? You think Biden — Sleepy Joe — he would do it?” Trump said.

He called the war a “little bit of a detour” from what he said were his otherwise winning economic policies, and asserted again — without providing evidence — that Iran was on the cusp of having a nuclear weapon and would have used it to cause devastation across the Middle East and to the U.S. if the U.S. hadn’t struck first, including when it bombed Iran’s nuclear sites last summer.

“You can’t let a madman or you can’t let a mad ideology have a nuclear weapon,” Trump said.

He repeated his long-pushed lie that he won the 2020 election, and suggested his support among his MAGA base remains at 100%.

An AP-NORC poll this week found that most Americans believe that the U.S. military campaign in Iran has gone too far — including about a quarter of Republicans — and that many are worried about gas prices.

During his Cabinet meeting Thursday, Trump seemed supremely confident, but also aware that the conflict was far from settled.

He said that the U.S. was “extremely — really a lot — ahead of schedule” in its war effort, and that “the Iranian regime is now admitting to itself that they have been decisively defeated.” But he also said that “even now, we don’t know if there are any mines” in the Strait of Hormuz, despite the U.S. having wiped out Iran’s “mine droppers,” and acknowledged that “if you think there may be a mine, that’s a bad thought and it stops things up.”

He said the U.S. has “decimated” about 99% of Iranian capabilities, but “the problem with the strait” is that the remaining 1% threat “is unacceptable, because 1% is a missile going into the hull of a ship that cost $1 billion.”

“If we do a 99% decimation, that’s no good,” he said.

During “The Five” interview, Trump was also asked if the CIA had told him that Supreme Leader Ayatollah Mojtaba Khamenei — who took on the Iranian leadership role after his father, Supreme Leader Ayatollah Ali Khamenei, was killed in initial strikes — is gay, which would be a crime under Iranian law.

“Well they did say that, but I don’t know if it was only them. I think a lot of people are saying that. Which puts him off to a bad start in that particular country, you know?” Trump said, in a stunning acknowledgment of a previously rumored intelligence briefing.

WASHINGTON — Pressure is mounting on Congress to end the funding shutdown that has resulted in travel disruptions, missed paychecks and even warnings of airport closures, but lawmakers have yet to resolve the underlying issue of reining in President Trump’s immigration enforcement operations.

Senators intend to vote Thursday on a Republican proposal that would fund the Transportation Security Administration and much of the Department of Homeland Security, except the enforcement and removal operations conducted by U.S. Immigration and Customs Enforcement. That plan is expected to fail.

Democrats argue it does not go far enough at putting guardrails on officers from ICE, Customs and Border Protection and other federal agencies who are engaged in the immigration sweeps, particularly after the deaths of two Americans protesting the actions in Minneapolis.

Trump, who has largely left the issue to Congress to resolve, threatened to send the National Guard to airports, in addition his deployment of ICE agents who are now checking travelers IDs — a development drawing concerns.

“They need to end this shutdown immediately or we’ll have to take drastic measures,” Trump said Thursday during a Cabinet meeting at the White House.

With Congress set to leave town by week’s end for its own spring break recess, calls are intensifying for an end to the 41-day stalemate that’s put the livelihoods of TSA officers at risk as they provide airport security without pay.

Multiple airports are experiencing greater than 40% callout rates of TSA workers and more than 480 of its nearly 50,000 transportation security officers have now quit during the shutdown. Nationwide, nearly 11% of TSA workers — more than 3,200 on a single day — missed work.

Trump stays out of the fray

The Republican president initially signed off on the plan the GOP senators brought to him late Monday. By Tuesday, he said he would not be happy with any deal.

Trump did not directly address the status of negotiations late Wednesday evening during an annual fundraising dinner for the House Republicans’ campaign committee as Speaker Mike Johnson, R-La., works to keep majority control of the chamber in the November elections.

But Trump criticized Democrats for refusing to settle their demands on immigration changes. On Thursday, he revived his campaign for senators to end the filibuster as a way to overpower opposition to GOP policies, something most Republican senators do not want to do.

The GOP’s big tax cuts bill that Trump signed into law last year funneled billions to DHS, including $75 billion for ICE operations, ensuring the money is flowing for his immigration and deportation agenda even with the funding shutdown. ICE and other immigration officers are still being paid.

The situation is partly of Trump’s making, a strategy the president put in place last fall when he cut a deal with Democrats to end a previous federal shutdown. At that time, Trump agreed to fund the federal government, except for DHS, which was then put on temporary funding that has expired.

A stopgap measure

The Republican offer added one new restraint on immigration officers, funding the use of body cameras that had previously been agreed to. It excluded other policies that Democrats have demanded, such as that federal agents wear identification, remove their face masks and refrain from conducting raids around schools, churches or other sensitive places.

Senate Democratic leader Chuck Schumer of New York said they needed to see real changes. “We’ve been talking about ICE reforms from day one,” he said.

Democrats had been in several days of talks with the White House, including with border czar Tom Homan, that appeared to be making progress toward a deal. The White House presented its own offer with several items Democrats had been demanding, including officer IDs and training.

But those negotiations broke down over the weekend.

Republicans say Democrats are putting the country at risk. They say the Trump administration has already made strides to meet Democrats’ demands and has shown a new approach to its immigration operations, swearing in Oklahoma Sen. Markwayne Mullin as the new homeland security secretary to replace Kristi Noem.

But conservative Republicans also panned the proposal, demanding full funding for immigration operations and skeptical of the promise from GOP leaders that they would address Trump’s proof-of-citizenship voting bill in a subsequent legislative package.

Senate Majority Leader John Thune, R-S.D., said late Wednesday that if Democrats put a “more realistic offer on the table, we’ll be back in business.”

Asked if Congress would consider a stopgap measure to temporarily fund the department, Thune said: “We’ll see.”

Airport lines grow as TSA workers endure hardships

Passengers are facing more four-hour waits to clear security at George Bush Intercontinental Airport in Houston.

The airport’s website said Thursday morning that travelers should expect to wait two hours, 30 minutes in the security line at one of its open terminals and four hours at the other.

Lines and wait times are expected to grow Thursday and Friday because of “significantly higher passenger traffic,” according to an update on the airport’s website.

“This is a dire situation,” the acting TSA administrator, Ha Nguyen McNeill, testified at a House hearing Wednesday.

She described the multiple hardships facing unpaid TSA workers — piling up bills and eviction notices, even plasma donations to make ends meet — and warned of potential airport closures if more employees refuse to come to work.

“At this point, we have to look at all options on the table,” she said. “And that does require us to, at some point, make very difficult choices as to which airports we might try to keep open and which ones we might have to shut down as our callout rates increase.”

She cited the growing financial strain on the TSA workforce.

“Some are sleeping in their cars, selling their blood and plasma, and taking on second jobs to make ends meet,” she said.

McNeil also said TSA officers working at the nation’s airports have experienced a more than 500% increase in the frequency of assaults since the shutdown began.

“This is unacceptable, and it will not be tolerated,” McNeill said.

Mascaro and Freking write for the Associated Press. AP writers Rebecca Santana and Ben Finley in Washington; Wyatte Grantham-Philips in New York; Rio Yamat in Las Vegas; Russ Bynum in Savannah, Ga., and Gabriela Aoun Angueira in San Diego contributed to this report.

WASHINGTON — The Transportation Security Administration may have to shut down operations at some airports as travelers are experiencing record wait times, the agency’s acting head said Wednesday, as the latest offer to end a funding impasse and put restraints on President Trump’s mass deportation agenda met fierce resistance in Congress.

The TSA’s Ha Nguyen McNeill described the mounting hardships facing unpaid airport workers — bills and eviction notices piling up and even plasma donations to make ends meet — and warned that lawmakers must ensure “this never happens again.”

“This is a dire situation,” she testified at a House hearing, warning of potential airport closures. “At this point, we have to look at all options on the table. And that does require us to, at some point, make very difficult choices as to which airports we might try to keep open and which ones we might have to shut down as our callout rates increase.”

Yet on the 40th day of the standoff involving the Department of Homeland Security, there was no easy way out in sight. Neither Republican senators, who made the latest offer, nor Democrats, who are demanding more changes in immigration enforcement, appeared closer to a compromise.

Trump, who initially appeared to have given his nod to the deal, has declined to lend it his full support or put his political weight behind making sure it is approved.

Top officials at agencies under the Homeland Security umbrella spoke for more than three hours before the House Homeland Security Committee about the potential risks of security lapses unless the partial government shutdown comes to an end.

A deal teeters on collapse

Homeland Security has gone without routine funding since mid-February. Democrats are insisting on changes to the Trump administration’s immigration enforcement and mass deportation operations after the killings of two U.S. citizens in Minneapolis by federal officers during protests.

The latest proposal would fund most of Homeland Security except for the enforcement and removal operations of U.S. Immigration and Customs Enforcement that have been central to the debate. The plan would cover other aspects of ICE as well as Customs and Border Protection.

Although the offer added some new restraints on immigration officers, including the use of body cameras, it excluded other policies that Democrats have demanded.

Senate Democratic leader Chuck Schumer of New York said they needed to see real changes. House Democratic leader Hakeem Jeffries of New York pressed for “bold” changes at ICE.

Republican leaders said Democrats are putting the country at risk.

“They know this is crazy,” said House Speaker Mike Johnson (R-La.).

But conservative Republicans also panned the proposal, demanding full funding for immigration operations and skeptical of the promise from GOP leaders that they would address Trump’s proof-of-citizenship voting bill in a subsequent legislative package.

Airport lines grow as TSA workers endure hardships

McNeill, the acting TSA administrator, told lawmakers that multiple airports are experiencing greater than 40% callout rates and more than 480 transportation security officers have quit during the shutdown.

She cited the growing financial strain on the TSA workforce.

“Some are sleeping in their cars, selling their blood and plasma, and taking on second jobs to make ends meet, all while being expected to perform at the highest level when in uniform to protect the traveling public,” she said.

McNeil also said TSA officers working at the nation’s airports have experienced a more than 500% increase in the frequency of assaults since the shutdown began.

“This is unacceptable and it will not be tolerated,” she said.

The top executive overseeing Houston’s airport said security lines that left travelers waiting four hours or more could get longer if the political impasse was not soon settled.

Lines that twist and turn across multiple floors at George Bush Intercontinental Airport have been the result of TSA being able to staff only one-third to half the usual number of checkpoint lines, said Jim Szczesniak, aviation director for Houston’s airport system.

Trump’s decision to send ICE agents to the airports risks inflaming the situation, lawmakers have said. Video of federal officers detaining a crying woman at San Francisco International Airport drew outrage Monday from local officials, although it was unrelated to Trump’s order to deploy immigration officers.

FEMA also at risk

The Federal Emergency Management Agency’s Disaster Relief Fund is “rapidly depleting,” Victoria Barton, a FEMA external affairs official, told lawmakers.

FEMA is able to continue its disaster response and recovery work as long as that fund has money, and about 10,000 of its disaster workers continue to be paid through it.

Mascaro and Freking write for the Associated Press. AP writers Wyatte Grantham-Philips in New York, Rio Yamat in Las Vegas, Russ Bynum in Houston and Gabriela Aoun Angueira in San Diego contributed to this report.

WASHINGTON — The Trump administration has offered Iran a 15-point ceasefire plan aimed at temporarily halting the war in the Middle East, as the Pentagon simultaneously orders thousands of Marines, paratroopers and a warship to the region.

The plan presented to Iranian leadership Tuesday broadly included a 30-day ceasefire and sanctions relief for Iran in exchange for a laundry list of U.S. demands, according to the Associated Press and other outlets.

But Iran dismissed the proposal Wednesday, criticizing the White House’s terms as “excessive” and out of step with reality, according to Iranian state-run media.

Those terms included limitations on Tehran’s missile stockpiles, and the permanent end to its nuclear program, its support for regional militias including Hezbollah, and of its blockade of the Strait of Hormuz, various outlets reported, citing Pakistani officials mediating the negotiations.

Several of those provisions have long been considered nonstarters for Iran, which sees its missile stockade and regional alliances as central to national security.

Iranian officials responded with defiance and skepticism.

“Iran will end the war when it decides to do so and when its own conditions are met,” an Iranian official told state media. “Not when Trump envisions its conclusion.”

The official outlined the Islamic Republic’s terms for ending the conflict, which included a halt to “aggression and assassinations,” an end to fighting on all fronts, enforceable guarantees that hostilities will not resume, compensation for war damages and a formal recognition of Iran’s sovereignty over the Strait of Hormuz.

Iranian Foreign Minister Abbas Araghchi has stated that Iran is not interested in a ceasefire but rather a comprehensive “end of war” on all fronts, including the lifting of sanctions and guarantees to allow Iran to pursue peaceful nuclear enrichment for energy and medical applications.

Iranian officials told state media that they believed the Trump administration’s diplomatic efforts were deceptive.

“You have reached a stage where you are negotiating with yourselves,” Iranian military spokesman Ebrahim Zolfaqari said in a televised address Wednesday. “Do not call your defeat an agreement.

Since the start of the conflict, Iranian leaders have voiced suspicion of any diplomatic talks with the Trump administration, pointing to prewar diplomatic efforts as evidence they were “tricked.” The Islamic Republic says it made clear in those talks that it had no interest in developing nuclear weapons, but Trump launched his military campaign nonetheless.

There have been conflicting media reports over Tehran’s exact position. Statements from Iranian officials and state-linked outlets have left open the possibility that elements of the proposal are still under review, while some reports frame the response as an outright refusal.

The Iranian response also conflicts with President Trump’s insistence that negotiations were progressing.

“We have had very, very strong talks,” he said Sunday in Florida. “We have points, major points of agreement. I would say almost all points of agreement will at some point very, very soon meet.”

Compounding the issue, Israel — which continues to carry out routine bombing campaigns over Iran — has stayed out of the talks.

Trump and Israeli Prime Minister Benjamin Netanyahu spoke about the peace deal in a phone call Tuesday. In a televised address, Netanyahu said that Trump “believes there is an opportunity” to realize U.S.-Israeli war objectives in an agreement “that will safeguard our vital interests.”

“At the same time, we continue to strike both in Iran and in Lebanon,” Netanyahu said. “We will safeguard our vital interests in any scenario.”

The negotiations are being facilitated by Pakistan, with support from Egypt and Turkey — countries that have pushed to contain a conflict that has killed more than 2,400 people, further destabilized the embattled region and disrupted global oil markets.

As Washington pursued a diplomatic end to the conflict, the Pentagon deployed an additional 2,000 troops from the 82nd Airborne Division to the Mideast. An additional 5,000 Marines and thousands of sailors are already en route to the region, where 50,000 more Marines are currently stationed.

House Speaker Mike Johnson (R-La.) told reporters on Wednesday that the deployment “sends a signal to Iran that they need to get their act together,” but denied any coming escalations by the American side. Johnson instead said that he believes “Operation Epic Fury is almost done.”

Now in its fourth week, the operation began with a series of intensive airstrikes that killed Iran’s Supreme Leader, Ali Khamenei, and dozens of other high-ranking officials. Since then, the U.S. and Israel have carried out over 9,000 strikes targeting Iranian military infrastructure and nuclear program.

Defense Secretary Pete Hegseth told reporters in the Oval Office Tuesday that while the president’s diplomatic envoys seek a peace deal, his department of war will continue to “negotiate with bombs.”

“The president has made it clear that you will not have a nuclear weapon. The War Department agrees,” Hegseth told reporters Tuesday in the Oval Office. “Our job is to ensure that, and so we’re keeping our hand on that throttle.”

Iranian retaliatory strikes have hit Gulf infrastructure and halted energy production and shipping in the region, spurring global fears of an enduring supply crunch. Meanwhile, Israel has expanded operations in Iran and sought to expand its borders into Lebanon.

Oil prices, which had surged above $120 per barrel earlier in the conflict, fell sharply this week on hopes that a ceasefire could ease supply woes.

In a statement Wednesday, U.N. Secretary-General António Guterres demanded an end to the fighting, which he said “has broken past limits even leaders thought imaginable.”

He specifically called on the U.S. and Israel to end the war, as “human suffering deepens, civilian casualties mount, and the global economic impact is increasingly devastating.”

Times staff writers Ana Ceballos, in Washington, D.C., and Nabih Bulos, in Beirut, contributed to this report.

Dodgers fans generally hiss at the mention of Frank McCourt — the former owner took the team into bankruptcy, after all — but today is about tipping our cap to him.

Without him, fans would have no option to take public transit directly to Dodger Stadium. On his watch, the Dodgers helped secure government funding for the shuttle buses that provide free rides between Union Station and Dodger Stadium.

Sixteen years later, beyond the addition of a sister shuttle from the South Bay, that’s it.

The Dodgers boast the best team in the world. Shohei Ohtani is a tourist attraction. So is their historic ballpark. The Dodgers sold a record 4 million tickets last year.

In 1990, the last year Fernando Valenzuela pitched for the Dodgers, Los Angeles County unveiled a report that suggested ways to improve access to Dodger Stadium “for those who cannot or do not wish to drive.”

The options: a monorail, people mover, or light rail extension from the Chinatown Metro station; the shuttle buses that McCourt and Metro launched 20 years later; the gondola that McCourt first pitched in 2018 and continues to pursue; and a walking path.

A passenger exits the Chinatown Metro station in January.

(Etienne Laurent/For The Times)

L.A. is all about the car. You will most likely drive to Dodger Stadium, and so will your children.

For decades, the Dodgers have promised to ease traffic by adding amenities that encourage fans to come early and stick around after the game. That has not materialized, and notorious congestion within and around the stadium is as much a tradition as Dodger Dogs.

What if you could walk, for real? What if you could head into the stadium along a beautifully landscaped and wide Dodgers-themed path, a blue ribbon of fans coalescing into a community, with decorations and food carts, shade and lighting, and chants of “Let’s Go Dodgers!” along the way?

You can walk now, sort of. It’s about a mile.

There’s a map at the Chinatown Metro station displaying the pedestrian path toward Dodger Stadium.

(Etienne Laurent/For The Times)

At one end of the Chinatown station, there is a map with a pedestrian route, in a glass case that faces away from Dodger Stadium. If you walk out of the station at the other end, or if you just start heading in the direction of Dodger Stadium, good luck finding the map.

There are Metro signs leading you back to the station from Dodger Stadium, but none leading you along the route there.

The Dodgers actually would prefer you did not take that route, or at least the last part of it. I walked it with Alissa Walker, whose Torched newsletter is the go-to place to learn how major sporting events impact the everyday lives of Angelenos.

We entered the Dodger Stadium property at an intersection with no crosswalks, where cars enter and exit the 110 freeway. We stood atop a dirt patch next to a crumbling curb.

“To go a very short distance safely with a feeling that you’re not going to die,” Walker said, “is very difficult.”

With Game 3 of the World Series underway at Dodger Stadium last October, a few folks scurried across a pedestrian bridge with LED lights and blue glow sticks.

The bridge connects Chinatown with Dodger Stadium, traversing the 110. Without this bridge, there is no walking path to Dodger Stadium.

At night, the bridge offers magnificent views of downtown lights. But it had no lights of its own, so the volunteers used the LED lights and glow sticks to attach homemade Dodgers-themed signage to the fence that encloses the bridge.

“Our goal was, just by adding some lights, to make the really dark path at the top of the bridge at night a little bit brighter, so that it felt a little less scary,” transit advocate Jeremy Stutes said, “and to add a little bit of fun and whimsy.”

Glow sticks forming the “LA” logo of the Dodgers were placed on a pedestrian bridge over the 110 Freeway connecting Chinatown to the area where Dodger Stadium is located during the World Series and for several months after. As of last week, the glow sticks were no longer there.

(Etienne Laurent/For The Times)

From the Chinatown Metro station, the bridge is three blocks up College Street and one block down Yale Street. It’s an easy walk, and for now you pass an elementary school, a church, a row of Chinese restaurants, a dirt lot where a hospital once stood, parking lots, and an auto repair facility with a Dodgers flag hung on a wall.

When I did the walk last week, the trash at the foot of the bridge included a plastic cup, socks, a piece of rotting fruit, a half-full bottle of tequila, and half of a turkey sandwich, peeking out from torn plastic wrapping that indicated the sandwich had gone bad three days earlier. On the bridge: shopping bags, a pair of flip-flops, stray clothes scattered at one end, and graffiti everywhere.

A sign painted on the sidewalk indicates the direction toward the Chinatown Metro station.

(Etienne Laurent/For The Times)

That was the point those volunteers made last October: Clean up the bridge and light up the bridge — as they did for three days — and fans will walk there.

“It’s not that it’s not used,” Stutes said. “It’s not designed to be a safe space to use as an alternative to driving.”

When you cross the bridge, you can turn right or left along Stadium Way to get to a stadium entrance.

Turn right, as the map tells you to do, and you’ll encounter decaying sidewalks, with cracked and buckled concrete that turns a modest uphill walk into an obstacle course. Once you get onto the stadium grounds, the paint is fading along the pedestrian path, which offers you no protection from passing cars.

Turn left, and you’ll have to walk part of the way in the street, on an unprotected bike lane. You also could walk along the road behind the Fire Department training center, a path with no sidewalks and passing fire trucks. Either route takes longer than the one on the map, but you would enter Dodger Stadium through a pair of protected and brightly painted pedestrian paths. (That entrance, along Vin Scully Avenue, is a quarter-mile from Sunset Boulevard, where two Metro bus routes stop.)

If the primary choices for getting out of Dodger Stadium after a game are car congestion or Dodger Stadium Express shuttle bus congestion, a downhill walk to Chinatown Metro station — 12 minutes, Metro says — would be a nice option. That’s why those folks lit up the bridge over the freeway during the World Series.

“The lights were just a fun way,” transit advocate Kevin Dedicatoria said, “to show, ‘Hey, here’s a bridge so you don’t have to play, ‘Dude, where’s my car?’ or have to worry about waiting for the bus.’”

McCourt hails from Boston, where the local subway drops Red Sox fans a few short blocks from Fenway Park. When McCourt owned the Dodgers, I asked him if he could envision a subway or light rail extension to Dodger Stadium.

He’d love it, he said then, but the Dodgers were a private business, and government should pay for public transit.

Homes line a street in Eylsian Park, where Dodger Stadium is located.

(ETIENNE LAURENT/For The Times)

It was a fair point. The Dodgers pay taxes. In an era where teams regularly demand stadium and arena deals that exempt them from property tax, the Dodgers have paid $12.8 million in property taxes over the past three years, according to Los Angeles County tax collection records.

Would demand for public transit amid a car culture justify the investment? The Dodger Stadium Express indicates it could: Ridership has just about quadrupled since its inaugural season, from 122,273 in 2010 to 463,147 last year, according to Metro.

Even along the poorly maintained, poorly lit and poorly advertised pedestrian path, Metro said more than 700 riders returned to the Chinatown station on each of the three nights of World Series home games last year.

“As seen in social media videos during the 2025 postseason, the walking path continues to explode in popularity,” Metro spokesman Jose Ubaldo said.

Next steps?

“It’s astonishing to me that the Dodgers have not taken it upon themselves, as this great community partner, to fix this problem,” Walker said. “It is the city’s responsibility, but the Dodgers should be doing this, as part of what they want to represent to this community.”

The walking path includes segments along city streets, a Caltrans bridge, and Dodger Stadium property. Just who is the responsible party?

A Caltrans spokesman said the city is responsible for maintaining the bridge. A spokesman for the city’s department of street services did not provide an answer. A spokesman for the Dodgers declined to comment.

You could almost hear the sigh from city councilwoman Eunisses Hernandez, whose district includes Dodger Stadium.

“That’s what my job is: to bring people and agencies and organizations together to accomplish a goal,” Hernandez said. “We’re already in conversation with all these entities.

“We’re looking at some of the things we can enhance to make this a more walkable and accessible option for people.”

City Council member Eunisses Hernandez, center, talks with Circle outreach workers in Los Angeles.

(Allen J. Schaben/Los Angeles Times)

How much might those enhancements cost?

Without a look at a city-commissioned Dodger Stadium traffic mitigation study, expected to be completed this fall, Hernandez said she could not put a price tag on it.

“What I can tell you,” she said, “is that it will be less than half a billion dollars, for sure.”

By year’s end, the Los Angeles City Council is expected to vote on McCourt’s gondola project, estimated to cost $500 million and proposed as privately financed. Last November, the council voted 12-1 to urge Metro to kill the project.

Metro granted its approval, but with conditions that included a requirement to explore supplementing the gondola with other Dodger Stadium transit options, including more buses along Sunset Boulevard and a designated walkway from there to the stadium.

The walking path proposed in that 1990 study would have avoided Sunset Boulevard and the current Stadium Way routes — the ones with crumbling sidewalks, or no sidewalks at all — by using escalators and walkways to get fans up and down the hill between Lookout Drive, just off Stadium Way, and Dodger Stadium.

“Pedestrians could be directed through Chinatown,” the study read, “where numerous restaurants, shops and pedestrian amenities are provided.”

It’s hard to sell Chinatown businesses on the benefits of the gondola when fans would ride between Union Station and Dodger Stadium, soaring over Chinatown. It would be easier if a walking path led at least some of those fans through Chinatown, even if only on the way back from the game.

Even if the gondola system really can accomplish what its proponents say it can — loading 35 people into a cabin every 23 seconds — thousands of riders leaving when the game ends could mean a long line to board.

One of the entrances to Dodger Stadium on Stadium Way, the easiest access when walking from Chinatown Metro station.

(Etienne Laurent/For The Times)

“Also,” the 1990 study said, “passenger waiting following a game is psychologically perceived as being three to four times longer than actual waiting time.”

From this perspective, McCourt might win a few council votes by funding a first-class walking path. The cost, I’m told, would depend on what the enhancements include: signs, lights, trees, shade canopies, sidewalk repairs, escalators, and so on. For something close to $5 million — one one-hundredth of the projected cost of gondola construction — McCourt likely could do an exceptional job.

Is there any sign of progress here? Happily, yes.

In an internal report last December, Metro said Zero Emissions Transit (ZET) — the nonprofit organization now shepherding the gondola project — is pursuing ways to link pedestrians and bicyclists to the transit system and to Dodger Stadium. Those potential improvements include sidewalk repairs and a revitalized pedestrian pathway from the Chinatown Metro station to the bridge across the 110 and then across Stadium Way, to Lookout Drive and the hill above.

“Dodger Walk is envisioned as a series of switchbacks,” the report said, “inspired by the original walking path up Lookout Mountain that existed prior to the construction of Dodger Stadium.”

Whether such switchbacks would make the walk to the stadium longer or shorter than the current path remains to be determined.

In a statement, ZET said: “We embrace and include active transit solutions to increase pedestrian and bike access throughout the project area.” In particular, ZET said, it was “supportive” of a walking path to Dodger Stadium.

The Metro report cautioned the concepts “are in the early planning stage,” so L.A. might get an extravagant walking path, a utilitarian one, or none at all.

Here’s hoping McCourt gives us a path of some kind — whether the city approves the gondola or not — because a pretty walk generations can enjoy would be a prettier civic legacy than driving a team into bankruptcy.

Seattle Storm forward Nneka Ogwumike (3), president of the WNBA players’ union, said for the first time, player salaries will be tied to a meaningful share of league revenue.

(Lindsey Wasson / Associated Press)

The league and players association have not made the terms public yet, but the salary cap will start at $7 million, up from $1.5 million in 2025, and the supermax will start at $1.4 million, up from $249,244 in 2025, a person with knowledge of negotiations not authorized to discuss them publicly told The Times. ESPN was the first to report the figures.

The total salary cap will jump by around 4.64 times the previous amount. The super maximum salary will be elevated by 5.61 times the previous amount. It means the top players will be eligible for larger raises than the league’s middle class.

The average salary will be $600,000, a bump from the previous average of $120,000, and the minimum salary will be more than $300,000, up from $66,079.

“For the first time, player salaries are tied to a truly meaningful share of league revenue, driving exponential growth in the salary cap, increasing average compensation beyond half a million dollars and raising the standard across facilities, staffing and support,” union president Nneka Ogwumike told reporters.

The main sticking point during negotiations was revenue sharing, and that number will be around 20% for the entirety of the multi-year deal. The league had previously offered 15.5%, a source told The Times, and players went down from their 40% ask to around 26% at the end of February, and then reached the agreement around 20% on Wednesday morning. The Athletic first reported the shift in revenue sharing figures.

Players had been negotiating for a percentage of overall revenue without factoring in expenses while the WNBA was seeking sharing tied to net revenue, mirroring the NBA’s structure that deducts expenses before sharing 50% of profits. The players secured a gross revenue deal, which gives them a cut of WNBA revenue without factoring in expenses, a person with knowledge of the deal not authorized to discuss it publicly told The Times.

“This deal is going to be transformational, and you’ll see all the details hopefully soon,” WNBPA vice president Breanna Stewart told reporters on Wednesday. “But it’s gonna build and help create a system where everybody is getting exactly what they deserve and more from on the court and off the court aspects.”

SACRAMENTO — Senior Ayla Teegardin of Palisades held her head high on Saturday morning. A 51-37 loss to Yuba City Faith Christian in the state Division IV girls basketball final at Golden 1 Center couldn’t lessen the inspiring backstory of how she and her Dolphin teammates had already won by making it to the final despite all the trial and tribulations of the Palisades Fire that destroyed a community in January 2025.

Teegardin lost her home, spent three months in a hotel and battled to regain her teenage life.

“I struggled with a lot of anxiety coming into games,” she recalled.

Basketball and teammates kept her focused. This season has been another challenging time with practices at night and at middle schools until the high school gym was finally re-opened at the end of January.

“That traumatic situation has brought everyone closer,” first-year coach Lebre Merritt said.

On Saturday, Palisades (16-14) fought Faith Christian (34-1) to almost a draw at halftime, trailing 29-26. But the Dolphins scored only 11 points in the second half and had no answer for Long Beach State-bound Lauren Harris, who came in as the nation’s career three-point scoring leader while averaging 31.2 points this season. She finished with 26 points, 16 rebounds, five assists, three blocks and two steals. She made a half-court shot at the end of the first quarter.

Elly Tierney of Palisades did her best on offense with 15 points and six rebounds. Teegardin finished with three points and six rebounds. Only three players scored the entire game for Faith Christian.

The Dolphins outrebounded Faith Christian 43-33 but made only 15 of 63 shots.