end

A preliminary hearing the murder case against David Anthony Burke, the 21-year-old singer better known as D4vd, will go forward at the end of June, setting a timeline for when more detailed evidence about the gruesome murder and dismemberment of 14-year-old Celeste Rivas Hernandez will become public.

Burke — who prosecutors say sexually abused the teen for a year before stabbing her to death and mutilating her corpse last year — will face the hearing on June 29, attorneys said during a brief hearing Tuesday morning.

After the singer’s arrest in April, his legal team pushed for an immediate preliminary hearing — where a judge determines if prosecutors have enough evidence to bring a case to trial — but they backed off after prosecutors began turning over what they have described as a massive amount of digital evidence linking Burke to the teenager’s brutal slaying. Burke has pleaded not guilty in the case.

The hearing is expected to last at least five days. A status conference hearing will take place on June 17.

Questions about the singer’s connection to Hernandez’s grisly end have circled since last summer, ever since her badly decomposed and dismembered body was found in the trunk of a Tesla linked to Burke. Late last month, prosecutors filed a nine-page brief laying out what they believe to be Hernandez’s final moments and Burke’s alleged horrific actions after her death.

In the filing, prosecutors said Burke stabbed Hernandez to death inside a Hollywood Hills residence after she threatened to go public about the ascendant singer’s continual sexual abuse. After killing her, Burke ordered a chainsaw, a “burn cage,” a shovel and other implements he used to dismember her remains in his garage, prosecutors alleged last week.

The motion also laid out the dramatic steps Burke went to in order to continue his relationship with the teen. In February 2024, Hernandez was reported missing to the Riverside County Sheriff’s Department by her parents, who were concerned about her involvement with Burke, according to the filing. Hernandez went home and had her phone taken away, but Burke allegedly paid a junior high school student $1,000 to give her a new device so they could stay in touch.

Prosecutors also said they found images of Hernandez naked and performing sex acts on Burke’s phone, according to the document. Deputy Dist. Atty. Beth Silverman said in court last month that search warrants turned up “a significant amount of child pornography” on Burke’s devices.

Burke’s lawyers have not commented on their defense strategy.

Famous signs along the nearly 2,500 miles of Route 66 include the 66-foot soda bottle at Pops in Oklahoma, the wagging neon tail of Albuquerque’s Dog House and the hand-painted slogans for Snow Cap Drive-In in Arizona. But in L.A., none is so iconic as the giant looming penguin that signifies milkshakes, burgers, oldies playlists and sheer Americana at the end of the road.

Stories, photos and travel recommendations from America’s Mother Road

The Mother Road that stretches from Chicago to the West Coast unofficially ends at the Santa Monica Pier, but at its technical terminus, Mel’s Drive-In declares the “ROUTE ENDS HERE,” inlaid in terrazzo beneath that jumbo tuxedoed penguin. It’s been a beacon for decades, and though the beloved restaurant space recently was listed for sale for $26 million, Mel’s owners hope it remains a diner and destination for generations.

For much of its history, the diner at the end of Route 66 was the 1959-founded Penguin Coffee Shop, a Googie-architecture marvel of angular windows, rock walls and little cartoons of penguins hanging above swivel stools and an open kitchen.

The original penguin sign from the former Penguin Coffee Shop still stands at Mel’s Drive-In in Santa Monica.

As a very young child I remember sliding into the booths with my father, whose office was nearby on Wilshire. Back then, the tall angled ceilings seemed to soar and the breakfast combos looked mountainous.

“It was a Googie kind of restaurant — you know, we don’t have that many of them around anymore,” my dad recalls. “It had an aura of roadside diner about it. … Everybody would see the giant penguin out there. I don’t think Burgess Meredith ever ate there, though.” The joke takes me a beat before landing; my version of Batman’s Penguin will always be Danny DeVito.

“It was a Googie kind of restaurant — you know, we don’t have that many of them around anymore,” the writer’s dad recalls.

We’d visit every month or two, until the Penguin closed its doors in 1991 and transformed into a Western Dental office, which kept the penguin sign but dropped those high ceilings and removed the kitchen along with other hallmarks of its roadside charm. Thankfully, its journey didn’t end there.

The Weiss family, which founded Mel’s Drive-In diner in 1947, had been eyeing the property for years and signed a lease in 2016. Then there was the link to their own history: The prolific Armet & Davis architecture firm designed the Penguin as well as the current home of Mel’s Sherman Oaks.

“When the dentist office went out of business,” said co-owner Colton Weiss, “it seemed like a no-brainer to make it Mel’s and bring it back to the glory days of being a diner.”

What followed were two years of “very expensive” renovations, according to the third-generation Mel’s owner.

Beyond the iconic penguin sign — which obtained “historically or architecturally significant” designation in 2000 — Mel’s pays homage with the large sculptural, custom-made glass globe lights, which replicate the original’s. The Weisses hired garden specialists to review decades-old photos of the Penguin Coffee Shop to determine which varieties of flowers decorated the front of the restaurant, then they replanted them.

Since the building’s reopening in 2018, thousands of guests have ended the journey along Route 66 with a meal in the diner.

While sledgehammering drywall, they uncovered the diner’s original rock wall. Along a hallway near the bathrooms, a small gallery of Penguin Coffee Shop photos offers another glimpse of the predecessor. This location also features a marshmallow-and-chocolate-sauce Penguin Shake in honor of the tuxedoed mascot of the original.

It wasn’t until they were close to signing a deal that they realized it sat along Route 66.

“We’re like Route 66 authorities now,” said Weiss, whose father, Steven Weiss, was largely responsible for the restoration.

Since the building’s reopening in 2018, the owners say thousands of guests have ended their travels with a meal in the diner. They bustle through the doors after the long journey, sometimes bedecked in Route 66 merchandise, and sometimes buying Mel’s own brand of Route 66 merch while there.

Atmosphere and details of Mel’s Drive-In Diner.

“We had a guy do it in a ’67 Chevy, that was on his bucket list: Older guy who did it with his wife, and it was a convertible,” said Weiss. “He did it in summertime, so by the time he showed up he was covered in dust and dirt. He couldn’t be happier to make it to Mel’s and get a burger.”

Another, he said, did the whole route on a bicycle.

The diner offers certificates of completion for those who finish the trek, and devised a burger named for the route. A fish tank at the entrance features a Route 66 theme, as does a mural on a small wall of the parking lot. Two official signs, placed by the city, denote the location’s significance.

“The city knew there’d be renewed interest in a diner being the real ending of Route 66,” Weiss said. “Before, I don’t know anybody who’d want to end their trip at a dentist’s office. Maybe somebody who broke their teeth on the way.”

But the trail’s end could someday see its own end. The property was listed for sale in 2025. Representatives for the building’s management company didn’t respond to requests for comment.

“We’re trying to keep it there as long as possible,” Weiss said. “People really enjoy this location, and it seems like one of the last diners in Santa Monica.” Weiss declined to comment further.

Mel’s assistant manager Yazmin Minguelasays she sees more travelers now because it’s the centennial of Route 66. “But even before that, we still had a lot of visitors.”

She’s worked for Mel’s 22 years, six of which have been spent in the Santa Monica restaurant. Her shifts are full of Westside regulars, celebrities and guests finishing their trip along Route 66.

“Ending on a diner is nostalgia,” my dad mused. “Having a place like Mel’s, which is a substitute for the kind of flea-bitten ptomaine joints that you might get along Route 66, brings back memories to very old people. And very new people ask questions like, ‘Who’s Burgess Meredith?’”

Mel’s Drive-In is open at 1670 Lincoln Blvd., Santa Monica, Sunday to Thursday from 7 a.m. to 11 p.m., and Friday and Saturday from 7 a.m. to midnight.

There will be no replacement referees — and therefore, hopefully, no “Fail Mary” repeat — in the NFL this fall.

The league and the NFL Referees Assn. have avoided a work stoppage by agreeing on a new collective bargaining agreement that runs through the 2032 season.

The current deal was scheduled to expire May 31. The sides having been negotiating since the summer of 2024, and the NFL had begun the hiring process for replacement officials last month.

“This agreement is a testament to the joint commitment of the league and union to invest in and improve officiating,” NFL executive vice president of football operations Troy Vincent said in a statement. “It also speaks to the game officials’ relentless pursuit of improvement and officiating excellence. We look forward to working together for the betterment of the game.”

Terms of the agreement have not been released, but the Associated Press reported in March that the league had increased its offer to a 6.45% annual growth rate”growth rate” = increase? in compensation over a six-year labor deal.

“We see this new CBA as a partnership with the league that benefits our membership but also seeks to make our game better,” NFLRA president Carl Cheffers said in a statement. “It is good to get these negotiations behind us so we can focus on preparing for the 2026 season.”

No such agreement between the sides was reached during the 2012 offseason, leading to a lockout that lasted 110 days. It all culminated in Week 3 of that season with the notorious “Fail Mary” call at the end of the Green Bay Packers-Seattle Seahawks game on “Monday Night Football.”

With the Seahawks down by five in the closing seconds, quarterback Russell Wilson threw deep to receiver Golden Tate in the end zone. Green Bay defender M.D. Jennings appeared to come down with the ball first, with Tate attempting to wrestle the ball away.

Two officials stood above the players, with one signaling touchdown (meaning Tate caught the ball, Seattle wins) and the other signaling touchback (meaning Jennings caught the ball, Green Bay wins). The final call on the field was a touchdown, which stood after a lengthy review.

It got worse. The next day, the NFL released a statement saying the officials missed a pass interference call on Tate that would have negated the touchdown. A day after that, the NFL and the referees union announced a new collective bargaining agreement that brought the regular officials back for that weekend’s games.

The Associated Press contributed to this report.

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.