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Thousand-dollar tickets and hundreds of dollars in fees shocked some hopeful Olympic fans this month, but they did not keep LA28 from boasting strong sales in the committee’s first ticket drop.

LA28 announced Thursday that it sold more than 4 million Olympic tickets during the first ticket drop. The private organizing committee will have a second ticket drop in August with “refreshed inventory across all Olympic sports at a range of price points.”

But after the popularity of the first purchasing period, many of the lower-priced tickets have already been scooped up.

LA28 said roughly half of the total 1 million $28 tickets were sold during the locals presale, which was limited to people living near venue cities in Southern California and Oklahoma City.

The average price per Olympic ticket is less than $200, which includes a mandatory 24% service fee, and LA28 said about 75% of all tickets, including final events, will be under $400. The premier seats at high-demand events command more than $1,000 per ticket, but the highest priced categories make up about 5% of the total ticket inventory.

Artistic gymnastics sold out the quickest in Drop 1. Four Olympic sports — flag football, lacrosse, softball and squash — sold all their available inventory for the first drop. After five days of local presale, global ticket sales opened and drew fans from 85 countries and all 50 states and U.S. territories. The largest international sales came from the United Kingdom, Canada, Mexico and Japan.

For the first female-majority Olympic Games, LA28 reported that women’s Olympic sessions outsold men’s 93% to 88% during the first drop.

“The response to our initial on-sale was nothing short of historic. Fans from near and far have spoken: the world wants to be part of the LA28 Games,” LA28 chief executive officer Reynold Hoover said in a statement. “The success of Drop 1 is about more than momentum — it reflects LA28’s commitment to delivering a fiscally responsible Games that create a lasting legacy for Los Angeles and its communities.”

Drop 2, which will begin in August, will have additional tickets across all Olympic sports, including those that may have sold out during the first purchasing windows. The registration period for Drop 2 opened Thursday at tickets.la28.org and will continue until July 22. Fans who registered for the first drop of tickets but did not receive a time slot and fans who did not buy their maximum 12 general ticket allotment will automatically be entered into the random lottery Drop 2. The new registration period is only required for anybody who did not sign up for the initial drop.

Fans are still limited to 12 Olympic tickets and up to 12 soccer tickets that don’t count toward the general maximum. There is a four ticket per ceremony limit for the opening and closing ceremony that count toward the 12-ticket maximum, which is cumulative across all LA28 presales and ticket drops.

LA28 will have multiple ticket drops with assigned purchasing time slots before ticket sales move to a first-come, first-served format closer to the Games, which open on July 14, 2028. LA28 began its ticketing process earlier than most other Olympic Games with tickets going on sale more than two years in advance of the opening ceremony. The early timeline has created excitement for the first Summer Olympics in the United States since Atlanta 1996, but also prompted concerns about scheduling. Fans clamored for tickets with little information about which teams or athletes would be competing in most sessions.

Tickets are not refundable, but fans can opt for verified resale when LA28 launches its official resale system in 2027. AXS and Eventim is the official secondary ticket marketplace of the LA28 Games and Ticketmaster and Sports Illustrated Tickets have also signed on as additional verified resale platforms.

LA28 will have 14 million tickets available for the Olympic and Paralympic Games, which would eclipse the record of 12 million tickets sold for the Paris Games. Paris 2024 sold an about 9.5 million tickets for the Olympics, but used a different ticket system than LA28. For Paris, 3.5 million tickets were sold during the first phase, during which fans were required to buy tickets to at least three different sports instead of the option for single-event tickets available during LA28’s Drop 1 process.

Tickets for the 2028 Paralympics, which will be the first in L.A.’s history, will go on sale in 2027. Ticket sales and hospitality are expected to cover about $2.5 billion of LA28’s expected $7.1 billion budget for the first Games in L.A. in more than 40 years.

Cameron Collins was sick of Joe Biden.

The owner of concert promoter Brew Ha Ha Productions describes himself as a libertarian-leaning conservative who built his career in San Juan Capistrano. He’d kept his personal politics out of his popular SoCal events, like the ska fest OC Super Show and the nationally touring Punk in the Park fest, a staple for bands like Bad Religion and Pennywise.

On May 30, 2024, Collins felt dismayed that Biden had pursued reelection. In a fit of anger, he donated $225 to Donald Trump’s campaign.

“It was just an impulsive thing,” Collins said in an interview. “Biden had said he was going to run again. I was like, nope. He’d said he wasn’t. It was more about that than anything. I don’t post anything political or talk about anything politically. I’ve never donated to anything like that before.”

That donation proved fateful. After a small punk label discovered and decried Collins’ donation, the scene turned on him. Influential bands pulled out of his festivals or said they wouldn’t return.

On Feb. 27, Collins canceled every Punk in the Park date for 2026.

“The current climate surrounding the events has created challenges that make it impossible for us to move forward,” the organizers wrote on Instagram.

It’s no surprise that an underground music scene would loathe a Trump-donating promoter. Amid the Iran war, raids by U.S. Immigration and Customs Enforcement, and the Epstein files, many Americans want Trump supporters gone from their lives, some viewing any form of support for him as an attack on their and others’ safety and dignity.

Yet until this donation, Collins was a respected promoter whose events sustained hundreds of acts, including progressive bands. Some artists who relied on Collins’ festivals — even if they hate his politics — said the backlash will hurt their livelihoods too.

“It was the worst money I ever spent,” Collins said. “It was not worth this.”

On a March afternoon after canceling his tours, Collins spoke to The Times on a Zoom from his home in Texas. He wore a thick gray beard and the chunky glasses of an aging rocker. His home office was plastered in concert posters from his decades of shows, which include Punk in Drublic (a long-running collaboration with his friends in the left-leaning band NOFX), Silverado Showdown in Orange County and SoCal rock radio station KLOS’ Sabroso Festival.

He expressed bewilderment over the fan revolt that turned him from a scene mogul who gave to pediatric cancer research charities to a villain with a gutted festival business.

“I feel like my reputation with every artist I ever worked with was that they would say, ‘The guy’s got integrity. He treats everyone right. He fights for this scene,’ ” Collins said. “I’m wondering what is happening right now that this has become so polarizing.”

Asked what Trump policies he supported, Collins sighed and said, “A vote for a candidate is not an endorsement of everything they stand for. I am very antiwar. There were promises that Trump made — no more foreign wars, supporting Ukraine by ending that war, lowering prices on gas and on groceries. Dinner table topics.”

Those goals are significantly at odds with the president’s track record. Did Trump deliver on Collins’ donation?

“The way that this whole fiasco has gone down — no one would have voted for that,” he said.

Punk has long struggled with a reactionary streak. British bands in the ‘70s wore swastika armbands for shock value. The Sex Pistols’ Johnny Rotten and the Ramones’ Johnny Ramone turned rightward, and Orange County’s hardcore scene has had neo-Nazi extremists. Gen X punk fans who consider themselves anti-establishment might see online leftists as imposing on their ability to have consequence-free political speech.

Yet the vitality of today’s punk scene is driven by young, racially and sexuality-diverse fans who believe they are in grave danger from Trump’s policies.

Last year, Brandon Lewis, the founder of the Columbus, Ohio-based label Punkerton Records, was poking around on the donor database Open Secrets. He was curious how his scene was donating, and he’d attended Brew Ha Ha events like the Ohio punk festival Camp Anarchy. He checked where Collins put his money and was appalled that it went to Trump.

“We refuse to support, defend, or stay silent about someone who gave money to a man actively destroying everything we care about, deporting our friends and families, erasing the existence of our trans community, stripping away civil liberties, civil rights, and workers’ rights, while dismantling the Constitution itself,” Lewis wrote from Punkerton’s Instagram.

“I’m a combat veteran, and this administration is just pushing everything I believe in about freedom out the window,” Lewis told The Times. “When I would listen to Trump’s rhetoric about ICE — I’ve got friends who are undocumented. Supporting that in a financial way, supporting someone saying my trans friends don’t exist, and to do so coming from a music scene that to me is accepting and kind and certainly not ripping families apart, I couldn’t in good conscience let that go.”

Other bands in the scene, like Dillinger Four, found more donations — around $100 or $200 each — from Collins going to the Trump-supporting political action committees WinRed and Never Surrender and the Trump National Committee. Collins’ support ran deeper than a one-off gesture.

Left-leaning fans demanded that bands drop off Collins’ festival bills.

Dropkick Murphys, a rough-and-ready enemy of Trumpism in punk, had played Collins’ past events. When word of his donations spread, the band came out swinging.

“Punk Rock and Donald Trump just don’t belong together,” they wrote in an Instagram post . “So, upon finding out that Brew Ha Ha promotions donated to the Trump campaign, we will not be playing any more Punk in the Park shows.”

Some acts, like old-guard punks the Adicts and ska group the Aquabats, canceled sets at Collins’ events. Other bands, like Dead Kennedys, said they opposed his beliefs but fulfilled their contracts.

“Dead Kennedys have always stood firmly against authoritarianism, racism, and fascism. That has not changed,” the group wroteon social media. “After these scheduled appearances, we will not be participating in future Punk In the Park events.”

Collins said he understood why bands jumped ship. “There was so much pressure building,” he said. “The bands are a business. You have to say, at what level is the pay worth the headache?”

Yet he insisted that “anyone that pulled off did not pull out because they were standing for something, but were being pummeled to the ground by everyone that said they’d better do it or else. I don’t want those bands to go through that.”

Many fans say that Collins is seeing the predictable consequences of supporting a politician the scene despises.

Others struggled with what to do in response. Monique Powell, the singer for the Orange County ska band Save Ferris, describes herself as a “queer anarchist anti-Netanyahu Jewish child of a North African immigrant,” and far from a Trump sympathizer. Yet Save Ferris played Collins’ OC Super Show event in spite of the protests and bands pulling out.

She said that, while she opposes MAGA, she “wasn’t willing to disappoint fans and put hundreds of people out of work just because someone had a view I didn’t agree with.”

She said Collins “has been an important part of creating and nurturing this scene. He gave a lot of people work. From onstage, I see all the vendors, the stage crew, all providing jobs for people of all backgrounds. He’s given a place for fans to come together, even if they don’t all believe the same stuff.”

Save Ferris was a breakout act in the ‘90s and is now a working-class band on the ska and punk festival circuit. “I see the midsized, hometown venues that the bands of my ilk play — they’re being bought out or dying,” Powell said. “I’m not about to start getting out pitchforks for someone who did something that’s nothing compared to the effects of larger companies.”

Take, for example, Beverly Hills-based concert giant Live Nation, which was in the news last week after a federal jury in New York ruled against it in an antitrust case. Live Nation’s chief executive, Michael Rapino, has donated to Democrats Kamala Harris, Sens. Jacky Rosen of Nevada, Lisa Blunt Rochester of Delaware and Adam Schiff of California, and the music biz-friendly Texas Republican John Cornyn. Live Nation’s PAC has given to Republican Sens. Marsha Blackburn of Tennessee and Ohio Rep. Jim Jordan, alongside several Democrats. Billionaire Philip Anschutz, whose namesake firm AEG is the parent company of Coachella promoter Goldenvoice, has donated millions to Republican politicians, PACs and party organizations for decades — exponentially more than Collins ever did.

It’s fair for to wonder why music fans who hold the line on supporting a Trump donor like Collins might attend those other shows. Lewis said he struggles with that contradiction too but said it hurt worse coming from a punk promoter.

“Donating to Trump is antithesis of what punk means. Hating people for their sexuality or skin color is not punk in the least bit. People clearly expected better from a punk rock festival,” he said.

“I think Live Nation should be broken in half,” Lewis added. “But it’s no knock on someone who wants to see Social Distortion at a Live Nation venue; they need escape as well. I’m just not going to pretend Live Nation is a beacon for good things.”

Those punk communities are pushing back beyond Collins’ events. The SoCal gothic-cumbia DJ collective Los Goths pulled out of the Orange County festival Los Darks after learning its organizers, Peachtree Entertainment, produced the MAGA-champion Kid Rock’s controversial Rock the Country festival. The Los Angeles crust-punk event C.Y. Fest was scrapped after its organizer, Ignacio “Nacho Corrupted” Rodriguera was accused of sexual misconduct (he called the claims “false allegations and misinformation,” but stepped back from the festival).

Collins’ company produces events outside the punk scene, focused on craft beer and other music genres. He recently revamped his upcoming Me Gusta festival into Sublime Fest after the rap group Cypress Hill pulled out. (Last year, Sublime played at the Trump National Doral golf course for the Saudi-backed LIV Golf tour.)

Collins is not sure how he’ll find his way back into the punk scene or if the fans will want him there again.

“I still go out into the audience because I just want to see, is it real? Do people hate me?” he said. “We have bands up there like the Casualties, who are flying [anti-ICE] flags. People are like, ‘You’re a fascist,’ but I’m paying a band to go on my stage to say whatever they want, and then signing a check and going, ‘Thanks for doing it.’ ”

In America‘s current political climate, left-leaning punk fans may not have patience for Trump sympathizers. Having heterodox beliefs is one thing; financially supporting the president is another. Collins is a free market guy, and the punk market has spoken.

Yet huge companies that donate to Trump and his allies are consolidating the industry. It’s harder for progressive punks who want the scene to reflect their values.

“I feel like we created a sustainable, realistic scene that can keep going for years, and bands can earn the money that they need to anchor those tours,” Collins said. His donation caused this avoidable backlash, but “if you take away festivals that are their anchors, like we have been for so many of these artists over the years, how do they tour? This is what the bands are telling me, that ‘we’re the ones getting killed here.’ ”

There is anger directed at Rosenior, but many Chelsea supporters also point the finger at Eghbali, Boehly and the rest of the BlueCo ownership.

The latest protest saw supporters march from The Wolfpack Inn pub to Stamford Bridge before kick-off, having grown from a turnout of about 200 before the Brentford match to more than 500 before Saturday’s tie.

There were flares, banners and chants directed at the owners, as well as calls in support of former owner Abramovich.

Under the terms of the takeover agreement in 2022, the current ownership group cannot sell the club until at least 2032. However, there are signs they are willing to listen to some of the criticism, including calls to recruit more experienced players.

“We recognise we need balance. You tweak a model, you improve and you learn from mistakes,” Eghbali said. “We have a strong core, but we need to add experience to take the team to the next level and achieve consistency. That is not lost on us.”

However, failure to qualify for the Champions League would undermine any rebuild. Chelsea have already spent about £1.5bn on signings under the current ownership and, despite recouping approximately £750m in sales, they remain under financial scrutiny from Uefa, having faced fines for breaching their regulations.

The club has announced Premier League record pre-tax losses in its latest accounts and – without the additional revenue generated by Europe’s premier competition through broadcasting, sponsorship and ticket sales – questions remain over whether Chelsea can recruit effectively in the summer.

Before kick-off, Cole Palmer told TNT Sports: “If we’re not in the Champions League, everything changes.”

Asked about Palmer’s comments and the potential financial implications, Rosenior replied: “The honest answer is I don’t know. We’re still fighting and we’ll address that situation at the end of the season, whatever the situation is.”

Meanwhile, Enzo Fernandez’s agent, Javier Pastore, has said his client would view missing out on Champions League football as an issue, despite the midfielder’s two-match internal ban – imposed following comments linking him with a move to Real Madrid – coming to an end on Saturday.

While the protest movement has largely been driven by younger supporters, there are signs of apathy among older match-going fans. Boos were heard at full-time, with the atmosphere inside Stamford Bridge growing quieter with each game.

Meghan Trainor is turning off the microphone.

The singer announced in an Instagram Story that she is canceling her Get in Girl tour. “This is the right decision for my family and me right now,” Trainor explained Thursday, saying that the decision came “after a lot of reflection and some really tough conversations.”

“Balancing the release of a new album, preparing for a nationwide tour and welcoming our new baby girl to our growing family of five has just been more than I can take on right now, and I need to be home and present for each and all of them at this time,” Trainor wrote.

Trainor apologized to her fans, but promised that she will be “back soon.” She also shared that she “can’t wait” for fans to hear her new album, “Toy With Me,” which will be released April 24.

“I know this will come as a disappointment to my fans, and I am so sorry to let you down,” Trainor said. “I’m endlessly grateful for your love and support always.”

Trainor announced the Get in Girl tour in November and was set to kick it off June 12 in Clarkston, Mich. The tour included stops at Madison Square Garden in New York City and the United Center in Chicago and was to conclude at the Kia Forum in Los Angeles.

Social media users speculated that the tour’s cancellation was due to low ticket sales, with Ticketmaster seating charts in some stadiums showing very few seats sold. Influencer and Trainor’s close friend Chris Olsen took to TikTok to push back against the “predictably vicious” online comments about the tour.

“This is a bigger conversation than just her and people’s feelings toward Meghan,” Olsen said. “The question that always comes up for me is ‘Why? And what is the end goal?’”

The singer welcomed her third child with her husband, Daryl Sabara, via surrogate in January. Trainor, who has been candid about her struggles during her first two pregnancies, explained on Instagram that she was “forever grateful to all the doctors, nurses, teams who made this dream possible.”

“We had endless conversations with our doctors in this journey and this was the safest way for us to be able to continue growing our family,” Trainor wrote.

I’d heard Arte Moreno had told people recently that he thought the Angels could command $4 billion. He might sell the team. He might not. But the figure seemed ambitious, since no major league team ever had sold for even $3 billion.

Until Friday, that is, when the Wall Street Journal first reported the San Diego Padres were about to be sold for $3.9 billion.

The new owners: a group led by Jose Feliciano of Santa Monica-based Clearlake Capital, which manages more than $90 billion in assets, and his wife, Kwanza Jones. In 2022, Feliciano and Dodgers co-owner Todd Boehly led the investment group that bought Chelsea of the Premier League for $5.2 billion.

The new money should enable the Padres to build upon the legacy of late owner Peter Seidler, who simply disregarded the fact that San Diego ranks as one of the smallest media markets in the major leagues. He spent to win, and the Padres have made the playoffs four times in the past six years — after making the playoffs five times in their first 51 years.

The fans rewarded him, packing Petco Park. As of Friday, the Padres had the second-best record and second-highest attendance in the major leagues. The Dodgers, of course, had the best record and the highest attendance.

The party most immediately interested in the Padres’ sale price? The players’ union, since Commissioner Rob Manfred has cited sluggish appreciation in sale prices as one reason to pursue cost controls on player salaries, whether through a salary cap or some other restriction. In recent years, the owners of the Angels, Minnesota Twins and Washington Nationals all have put their teams on the market without completing a sale.

But Moreno should be interested, too. He turns 80 this summer.

The comparison with the Padres only goes so far. In San Diego, in a city without a team in the NFL, NBA or NHL, the Padres are virtually unchallenged for dollars from fans and corporate sponsors.

And, in San Diego, the Padres play in Southern California’s best ballpark, one the team has turned into a year-round events center, with major concerts in the stadium itself and smaller ones within a delightful park beyond center field.

Could Moreno get $4 billion without a resolution to the long-running ballpark stalemate in Anaheim? It sounds borderline insane to consider that the only available team in America’s second-largest market might not be worth as much as the team that just sold in America’s 30th-largest market.

In Anaheim, however, two deals that would have anchored the Angels there for decades collapsed, and the 60-year-old stadium is in serious need of renovation or replacement. A buyer likely would have to account for the billion-dollar cost of a new ballpark and might ask for a credit against the purchase price, effectively lowering how much profit Moreno could make on the sale.

Any potential buyer should be keeping a close eye on a bill slowly winding its way through the state legislature this year. That bill, if enacted into law, would give the city the ability to loosen development restrictions on the stadium property for a team owner willing to call the team the Anaheim Angels.

Still, even without that legal assist, there should be no shortage of parties interested in acquiring two rarely available assets in one transaction: an MLB team in the Los Angeles market, and a 150-acre site perfect for the mixed-use development coveted by owners in every sport these days.

Golden State Warriors owner Joe Lacob, who once worked as a peanut vendor at Angel Stadium, lost out in the Padres’ bidding and could take another run at the Angels.

Rams owner Stan Kroenke, who lost out in the Dodgers’ bidding in 2012, surrounded the Rams’ Inglewood stadium and Woodland Hills training site with major development and could consider replicating those successes in Anaheim.

Ducks owner Henry Samueli has denied interest in the Angels, but he could consider extending and complementing his OC Vibe development across the 57 Freeway — and his hockey team already wears the Anaheim name.

That assumes, of course, that Moreno opts to sell. He enjoys owning a team and, in a season in which the Angels are one-half game out of first place entering Friday in what appears to be a weak American League West, there is no hurry.

It is considered more likely that Moreno waits until after a new collective bargaining agreement is reached next year to determine whether to sell. All I can tell you for sure Friday is what one baseball official texted me when I asked for reaction to the Padres’ sale: “Great news for the Angels.”

Earlier this year, tickets to see SZA perform at the Crypto Arena in Los Angeles were selling for $600 the day before they officially went on sale at $35 a piece.

In San Francisco, tickets to see Sam Smith at the newly renovated Castro Theater went on sale for $120, only to be quickly snatched up by scalpers and resold for upwards of $600.

Those are some of the stories that California lawmakers are citing as they advance two plans to change the ticketing landscape. One caps the extent to which resellers can mark up the original ticket price while the other prohibits resellers from selling tickets they don’t yet own.

Democratic Assemblymembers Issac Bryan of Culver City and Matt Haney of San Francisco are each carrying bills that they say would protect consumers from fraudulent and deceptive ticket sales.

Both measures are backed by the ticket market’s dominant seller, Beverly Hills-based Live Nation, which owns Ticketmaster. Its support has some worried that the bills will help the company crush its competitors and jack up prices.

A federal jury in New York this week found that the company illegally acted as a monopoly in a victory for, among others, California Attorney General Rob Bonta, who with colleagues in other states sued the company two years ago and kept going after federal prosecutors settled. Live Nation is now awaiting penalties.

Despite these headwinds, the ticket bills are sailing through the Legislature.

Supporters say the legislation has nothing to do with the antitrust case against Live Nation and helps consumers. Opponents disagree.

“The state Legislature should really be standing up for consumers instead of advancing bills that are there to help a monopoly that has been caught on record calling its fans stupid and has bragged about robbing them blind,” said Jose Barrera, national vice president for the far west region at the League of United Latin American Citizens, a civil rights advocacy group.

Ticketmaster’s competitors in the online resale market are lobbying against the measures, a sign that they view the proposals as a threat to their business.

Jack Sterne, StubHub’s head of policy communications, wrote to CalMatters, stating, “Passing laws that hand the Ticketmaster monopoly more power and don’t actually make tickets more affordable is the last thing California’s leaders should do.”

But Stephen Parker, executive director of the National Independent Venue Association, which is co-sponsoring the bills, argues that they will regulate the marketplace to better protect fans by limiting price gouging and encouraging the face value — or below face value — exchange of tickets.

“Ultimately, that is what these bills will do, in addition to making sure that the tickets are actually real,” he said. “That is a good thing for California consumers. It’s a good thing for artists and it’s a good thing for these small businesses and nonprofits that make up the independent stages across the state.”

A Live Nation spokesperson said in a statement to CalMatters, “The resale lobby constantly tries to change the subject by pointing fingers at Ticketmaster, even though it has less than 25% of the resale market. This has nothing to do with anyone’s monopoly, but rather is about protecting fans from scalpers and the resale sites that cater to them.”

The company has spent roughly $165,000 on lobbying efforts this legislative session, including to support Bryan’s bill.

‘Unlikely allies’

Bryan’s Assembly Bill 1349 would ban the sale of speculative tickets — or tickets that are not in the possession or ownership of the people who list them online. In an April hearing, Bryan said the bill protects consumers from predatory mark ups.

“This bill is so important that, after our introduction, it brought unlikely allies together,” Bryan said, according to the CalMatters Digital Democracy database. “In fact, this bill brought the Giants and the Dodgers together, brought the National Independent Venue Association and Live Nation together. It brought Kendrick Lamar and Kid Rock together. It brought Isaac Bryan and Donald Trump together.”

Several secondary ticket sellers are fighting the measure, including StubHub, SeatGeek and Vivid Seats. The three companies have spent roughly $1.1 million dollars on lobbying efforts this legislative session, which included opposition to Bryan’s bill.

People watch fireworks during Bad Bunny’s halftime show from a parking garage outside Super Bowl LX at Levi’s Stadium in Santa Clara on Feb. 8, 2026. Photo by Jungho Kim for CalMatters

Opponents including Robert Herrell, executive director for the Consumer Federation of California, argue that the bill strengthens Live Nation Ticketmaster’s grip on the ticketing and live entertainment industry. According to them, the measure would give Live Nation complete control over the ticket even after it has been purchased — meaning, for example, that consumers could lose the ability to sell it or give it away.

“There’s no consumer choice in the matter,” said Herrell. “They can keep people out of shows if they want to. There have been situations where, if you bought a ticket on the secondary market, you’ve been denied entry into a show.”
Proponents say Herrell and other opponents are mistaken. They say they are not trying to prevent transferability but rather, they want to protect fans from speculative costs.

“We want those rooms full,” said Ron Gubitz, executive director of Music Artists Coalition, which is co-sponsoring both bills. “So you have to be able to transfer a ticket. We just want it to be in a way that’s safe, trustworthy and not creating this run on the market that exists now.”

Gubitz pointed to a recent Bruno Mars concert, where tickets were on StubHub for $400 to $2,000 before they were on sale through Ticketmaster.

“That’s crazy,” he said. “That’s a speculative ticket that Bryan’s bill is trying to stop. That shouldn’t happen. It’s not fair to anybody, except for the secondary (market). It seems great for them.”

Price caps in a free market

Haney’s Assembly Bill 1720, also known as the California Fans First Act, would put a 10% cap on resale event ticket markups, inclusive of the ticket fees. In other words, a reseller could not charge more than 10% higher than the original ticket price.

In an interview with CalMatters, Haney said artists, independent venues and downtowns are currently being “screwed over and exploited” by scalpers and brokers.

“We can’t allow the status quo to continue if we want to ensure Californians have access to affordable tickets to see their favorite artists or if we want independent venues or the broader landscape of musicians and artists to thrive in our state,” he said.

Haney rejected the idea that his bill would strengthen the Live Nation Ticketmaster monopoly, saying that the company is one of the biggest operators and profiteers of the secondary ticket market and would therefore be subject to the same restrictions as any other platform or broker.

“I don’t think it’s a free market to allow folks to come in and buy up all these tickets and then create scarcity and then you’re now required to buy your ticket at a much higher price from someone who had nothing to do with the event,” he said. “This is not something we would ever allow for airplane tickets or even dinner reservations.”

The bill has been criticized by opponents like Diana Moss, vice president and director of competition policy at Progressive Policy Institute, who said price caps notoriously distort the market, describing them as “anti-consumer, anti-competitive and anti-artist.”

“If you shut down the resale market with price caps then guess what? Ticket buyers have no place to go but right back to Ticketmaster,” said Moss. “If (Live Nation) succeed(s) in decimating the resale market, then they steer millions and millions of fans back to their own ticketing platform where they charge monopoly ticket fees and where fans are hostage to their glitchy online platform and all of their data, privacy and security concerns that we always hear about in the news.”

Those concerns didn’t stop the bill from passing out of the Assembly Committee on Arts, Entertainment, Sports and Tourism last week with a 6-1 vote. The bill also passed out of the Assembly Committee on Privacy & Consumer Protection on Thursday with a 9-4 vote.

Mihalovich is a California Local News fellow for CalMatters.

A LOVE Island star has been forced to address backlash from fans, who slammed his business’s “shocking customer service.”

Sean Stone shot to fame after appearing on series 11 of the summer dating show before he most recently made a comeback on All Stars in January.

The 26-year-old, dubbed the “Candyman,” has owned sweet business, Sweet Delivery since 2019.

His business journey started in the back of his VW Polo, where he sold pick and mix out of pizza boxes in his local area, Hertford.

But now, it seems the TV star has faced a slew of backlash from fans who are simply not happy with the business’s customer service.

Taking to TikTok Sean was forced to apologise for his business’s mishaps.

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He said: “Our customer service has been shocking. I sincerely apologise for this. Recently we’ve had a large amount of orders come through the door, where to be honest we had a system in place for our customer service but there was not enough time and effort put into that.

“However, I have got some exciting news we now have a dedicated staff member that will be working Monday to Friday on all your customer queries.”

Despite the addition of a new staff member, fans are still waiting to hear back on their orders.

Sean continued: “Now I know there’s some of you still waiting to hear back from us; I do kindly ask as annoyed as you may be please send us another email.”

The Islander then confessed: “If I’m being honest it’s been an eye-opener for myself to see how important customer service is. I do apologise to anyone being upset and frustrated that they haven’t received their order yet.

“I’m making a change and it’s going to be an amazing change moving forward.”

Fans in the comments of his apology video were very divided.

One fan penned: “Honestly this kind of accountability is really refreshing to see, and it’s clear you’ve taken the feedback seriously and put steps in place to fix things…”

Another fan wrote: “Are you for real! How can you not realise customer service is important it’s what makes and breaks a business.”

A third person said: “Well said Sean, holding your hands up is always the best way.”

Meanwhile, a fourth fan added: “I think you just blew up faster than you thought you would.”

Sean returned from the Love Island villa back in February and after a short break in Paris with his new girlfriend Lucinda Strafford, who he met on the show, he has been back to business.

Lucinda, 26, and Sean coupled up on day 18 of the show and after backlash from their co-stars they managed to finish in fourth place.

The loved up couple have gone from strength to strength despite Sean living in Hertford and Lucinda living in Brighton.

NEW YORK — Beverly Hills-based Live Nation and its Ticketmaster subsidiary faced a bruising courtroom loss Wednesday after a federal jury found that the company operated a monopoly over concert venues.

The verdict by a Manhattan, N.Y., jury came after a five-week trial and caps a closely watched case that could have far reaching effects across the music industry, potentially leading to the breakup of the companies.

Ticketmaster is the world’s largest ticket seller for live events, while Live Nation is a dominant force in the concert business.

The civil case began when the federal government alleged that Live Nation used its clout to engage in a variety of anticompetitive practices, including preventing venues from using multiple ticket sellers.

“It is time to hold them accountable,” Jeffrey Kessler, an attorney for the states, said in a closing argument. He called Live Nation a “monopolistic bully” that drove up prices for ticket buyers.

Jurors agreed. They found that Ticketmaster had overcharged consumers by $1.72 for each ticket. The judge will assess damages later.

Live Nation, which owns and operates hundreds of venues, countered that it did not violate U.S. antitrust laws, arguing that artists, sports teams and venues decide prices and ticketing practices.

“Success is not against the antitrust laws in the United States,” Live Nation attorney David Marriott said in his summation.

Live Nation said in a statement that the “jury’s verdict is not the last word on this matter,” noting the court had yet to rule on a motion it had filed to challenge its liability in the case.

The trial revealed some embarrassing internal communications, including emails from a Live Nation executive who called customers “so stupid” and said the company was “robbing them blind, baby.” The executive, Benjamin Baker, testified that the messages were “very immature and unacceptable.”

The original lawsuit, led by a cadre of interested parties including the federal government, 39 states and the District of Columbia, dates to 2024. It alleged that Live Nation and Ticketmaster monopolized various aspects of the live music industry, such as concert promotion, venue operations, artist management and ticketing services.

Live Nation manages more than 400 artists and controls more than 265 venues in North America, while Ticketmaster simultaneously controls around 80% of the primary ticket marketplace and also is increasing its involvement in the resale market, according to the lawsuit.

Last month, Live Nation secured an unexpected tentative settlement with the Department of Justice in which the company agreed to several structural changes to its business, including adjustments to ticketing deals with venues, capping service fees and paying a $280-million fine.

However, more than 30 states, including California, decided to proceed with the trial. California Atty. Gen. Rob Bonta praised these state-led efforts to protect consumers, even amid dwindling antitrust enforcement from the Trump administration, he said in a statement.

“This is a historic and resounding victory for artists, fans, and the venues that support them,” Bonta said. “We are incredibly proud of today’s outcome … this verdict shows just how far states can go to protect our residents from big corporations that are using their power to illegally raise prices and rip-off Americans.”

Though a verdict has been reached, remedies for how Live Nation will be held accountable for its actions are still being decided by the judge.

One possibility is that the companies could be split up, an outcome favored by critics.

National Independent Venue Assn. Executive Director Stephen Parker said Ticketmaster and Live Nation need to be separate for the industry to see change.

“Live Nation and Ticketmaster must be broken up now. Ticketmaster should not be permitted to participate in the ticket resale market. Live Nation should not be able to promote more than 50% of artists’ tours,” Parker said in a statement. “And the damages paid to the states should be remitted to the independent venues, promoters, festivals, and fans that have suffered under Live Nation’s monopolistic reign over the last 15 years.”

Serona Elton, attorney and interim vice dean at the University of Miami’s Frost School of Music, said that the separation of Live Nation and Ticket master seems to be “on the table,” but she said it’s too early to assess the verdict’s fallout on the music industry.

Elton said fans might notice small changes in pricing, but there are factors other than Live Nation that are contributing to high ticket prices, such as the secondary ticket market as well as supply and demand challenges.

The verdict, Elton said, “sends a message of support to music companies and professionals working in the live space who have felt like they have suffered financial consequences because of Live Nation’s behavior.”

The ruling is a small but necessary step toward achieving a balanced and competitive ticketing industry, said Hal Singer, a managing director of economic consulting firm Econ One, who specializes in antitrust and consumer protection issues.

Forcing a Ticketmaster sale probably is the only remedy that will bring real change, Singer said.

“We’re not out of the woods quite yet,” Singer said. “We’ve kind of tilted the probability.… It could change the competitive balance. But that requires that a meaningful remedy follows the liability. You need both.”

Fans and some artists have long groused about Ticketmaster, which was founded in 1976 and merged with Live Nation in 2010.

Dustin Brighton, director of government relations for the Coalition for Ticket Fairness, agreed that although the verdict is a landmark moment for fans, “it’s not the end of the road.”

“As the court considers remedies, the focus must be on restoring competition, increasing transparency, and ensuring fans have real choice,” Brighton said in a statement.

Times staff writer August Brown and the Associated Press contributed to this report.

Fans are frustrated with LA28. City Council members are battling over billions of dollars and overdue contracts. But in front of the U.S. Olympic and Paralympic Committee board of directors, LA28 found support for the private organizing committee’s progress with a little more than two years remaining before the Games open in L.A.

Despite pushback from locals, LA28 leadership, including chief executive officer Reynold Hoover and chief executive officer responsible for revenue John Slusher, spoke to the USOPC on Wednesday about the ticket sale process, explained the superbloom-inspired look of the Games and celebrated the committee’s recent commercial success that surpassed more than $2 billion in sponsorship agreements.

“We were quite encouraged to hear from them,” USOPC chair Gene Sykes said during a conference call Wednesday after a board of directors meeting, “and quite confident in the direction of LA28 from an operational standpoint.”

The private group responsible for bringing the Games back to L.A. for the first time in four decades opened ticket sales this month after attracting a record number of interested fans. The first week of sales — reserved for locals in Southern California and Oklahoma City near competition venues — “significantly exceeded first-week sales for any previous Olympic Games,” LA28 said in a statement.

But many fans were shocked to see opening ceremony tickets topping $5,000. They complained about a shortage of options for the most in-demand sports and were surprised to see a 24% service fee. Global sales opened on April 9 and many of the problems, including website glitches and unavailable tickets, persisted.

The USOPC board discussed the fee with LA28, and recognized that it is “part of a framework that is a framework they accept,” Sykes said, “as opposed to challenging it or trying to make it something different.”

The fee is included in the listed price of the tickets, which start at $28. There will be 1 million tickets sold at $28 each, and nearly half of the Olympic tickets are under $200. More than 75% are under $400 and about 5% of tickets are more than $1,000.

“I know they’re thinking very, very seriously about how to manage the ticket activity so that it satisfies everybody,” Sykes said.

LA28 will have 14 million tickets available between the Olympics and Paralympics, which would break Paris 2024’s record of 12 million tickets sold. The current ticket drop, which is open to fans worldwide, ends April 19. LA28 expects to have a second drop this year, but has not released specific details about when.

Ticket headaches have added to a controversial run-up to the Games for LA28, which also faced backlash after chairman Casey Wasserman was mentioned in the Epstein files released in February. The LA28 executive committee backed Wasserman after a review with the assistance of outside counsel. Wasserman announced that month he would sell his talent agency but planned to continue working with LA28.

When asked Wednesday what the USOPC board believed Wasserman’s role with LA28 should be moving forward, Sykes said the organizations have had discussions and are monitoring the “impact on our community.” But it is ultimately the LA28 board’s decision to select its chair. Wasserman was appointed by former Mayor Eric Garcetti to lead the Olympic effort in 2014.

“Separate from the LA28 board … LA28’s leadership Reynold Hoover and John Slusher, but many other people among the hundreds of people who work for LA28 have continued to assemble a very strong team,” Sykes said, “and show measurable progress on all the fundamental things that they need to do to make the Games a very, very strong Games, and have a remarkable experience. We remain very confident that that progress is both evident and very solid and that [it] will involve the planning with partners, athlete engagement, public support and corporate interest, all of which remain very strong, and I think, very encouraging. The ongoing committee is executing effectively, and we’re very happy to work with them.”

You ask. We answer. Or at least we’re going to try.

The Times asked readers for their burning questions regarding the Olympics, and it’s the ticketing process that’s bringing the most heat. Locals in Southern California and Oklahoma City endured the presale headaches and sticker shock before the global audience got their shot at securing tickets this week. But with more than two years remaining until the Games open, expect that there will be more questions.

Here is what Times readers wanted to know:

Why are tickets so expensive?

A price tag of $5,000 to watch the opening ceremony or $2,500 for women’s artistic gymnastics finals shocked hopeful fans on the first day of ticket sales. But it’s not 1984 anymore.

Ticket sales and hospitality are expected to cover about $2.5 billion of the total $7.1 budget. LA28 will have 14 million tickets available across the Olympics and Paralympics, so taken in total, the average ticket for the Games would have to be roughly $179 to reach the budget estimate. Paralympic tickets, which will go on sale in 2027, are expected to be less expensive than Olympic tickets. LA28 said the average Olympic ticket — inclusive of the 24% fee — is less than $200. The math is mathing.

LA28 did not release a complete price list before tickets went on sale, likely fueling some of the sticker shock after fans just heard about the promise of $28 tickets. And a 24% fee raised additional eyebrows.

The fees “align with standard industry practices for ticketing live events in the U.S.,” LA28 said in a statement and cover the costs of secure processing and delivering tickets.

Are there still $28 tickets available?

Yes. LA28 chief executive officer Reynold Hoover said at a recent press event that there are $28 tickets that have not yet been released.

But expect the tickets to go quickly whenever they are available.

There are roughly 1 million $28 tickets total. Divide those tickets to ensure they can be distributed over a number of drops and then divide each drop’s $28 tickets across multiple sports. It’s quickly resembling a small number of needles in a big haystack.

The 1 million $28 tickets are spread across every sport, but not every session. So don’t expect $28 tickets for finals or knock out rounds to the most in-demand sports including women’s artistic gymnastics, basketball, swimming or track and field to be sold at all. Cross your fingers, look for qualifying rounds, especially sports that have a lot of early pool matches such as 3×3 basketball or field hockey, and be open to exploring a new sport you’ve never heard of. Handball is actually a lot of fun to watch.

How many tickets are available in each drop?

This is a question everyone wants to know. And trust me, we’ve asked. LA28 declined in multiple settings to release specific numbers. The lack of information likely contributed to much of the confusion about what to expect when fans logged into the portal for the first time, and it makes it difficult to project what the ticket distribution will look like in future drops.

I had a time slot but didn’t buy my full allotment of tickets. What now?

If you didn’t buy the maximum 12 tickets allowed, you’ll automatically be entered for the next ticket draw later this year. LA28 has not released any additional details about when exactly that next opportunity will be, but it will have the same steps as the first one: a period of open, free registration, a random lottery and assigned time slots during which fans can log in and purchase tickets.

Fans will be automatically rolled over into future lotteries until they’ve reached the maximum 12 general tickets. So you don’t have to do anything extra if you’ve already registered for the first drop. But if you’ve bought your 12 general tickets and not the additional 12 soccer tickets, you won’t be entered into the next draw.

I didn’t register for the presale/first drop. Can I still get a chance to buy tickets?

Don’t panic. You can register next time. The next drop, which will come later this year, will have the same registration period, lottery, time slot pattern, but there will not a presale period. Each lottery is random, so whether you are a first-drop rollover, a new registrant on the first day or someone who signs up on the last day, you all have the same chance to get a time slot.

There will be multiple time slot-based ticket drops before tickets move to a complete first-come, first-served sale.

How can groups get access to the tickets available through the donation program?

Last November, LA28 launched a donation program to help fund tickets for local organizations. The Rams were the first contributors to the program, pledging $5 million to the campaign. But LA28 has not released additional information yet about how the tickets will be handled or distributed in the future.

Will I be able to transfer tickets to friends/family?

Yes. Digital tickets for recent Olympics have been distributed through an app and when they hit your account, you can send them to friends and family using their email addresses/Olympic account information. Just be prepared to download yet another app on your phone.

Why are some events in Oklahoma?

The softball tournament will be in Oklahoma City’s Devon Park, which hosts the Women’s College World Series every year, and canoe slalom will take place at Riversport OKC, the official U.S. Olympic and Paralympic training center for rowing and canoe/kayak.

These Games were intended to use existing infrastructure instead of building new venues, which greatly cuts down on costs. Hosting the canoe slalom events near L.A. would have required an expensive temporary build. It’s true that Southern California has many great college softball teams with existing facilities, but it would be difficult to prepare to a scale suitable for Olympic athletes, stakeholders, media and fans. I’ve covered many softball games at UCLA. The fan capacity is less than 1,500 and there’s room for about seven people in the press box. Eight if you scrunch. You can’t build temporary stands there; the outfield touches Sunset Boulevard.

In Tokyo, the last time baseball and softball were at the Olympics, the sports shared a venue. But LA28 organizers heard feedback from softball athletes saying that converting a baseball stadium into a softball venue compromised some of the Games experience. Moving the softball and canoe slalom events outside of Southern California is a trade off though. Those athletes will not be able to have some of the same Olympic experiences as others, but organizers were mindful to make the competition schedule to ensure that athletes could still attend either the opening or closing ceremonies despite competing far away.

Every Olympics wrestles with finding the perfect venue, and for the L.A. Games, which have more sports and more athletes than any Olympics in history, that calculus is harder than most. There are no perfect solutions.

The Times will continue answering reader questions leading up to the Olympics. Use the form below to submit your questions and check back later for more responses.

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell. Last week it’s hot, this week it’s cold. I think the weather has the flu.

The Dodgers are 12-4, are on pace to win 122 games, have the best record in baseball and generally are off to the type of start everyone expected.

So, let’s check in and see how the players are doing. We will list in order from highest batting average to lowest. To see everyone’s complete stats, click here.

Dalton Rushing, .538/.571/1.308

It’s great to see him off to this start, but it has been only four games. He’s a much better hitter than he showed last season. He will cool off of course.

Andy Pages, .417/.453/.733

He was Dave Roberts’ pick to have a breakout season, and he’s certainly doing that, leading the majors in batting average, hits and RBIs (20).

Alex Call, .417/.563/.583

Just what you want out of your fourth outfielder. Solid defense and offense. The top three guys here won’t come close to finishing with these numbers of course, but you can realize that and acknowledge their incredible start.

Miguel Rojas, .357/.387/.429

Doing what he has done his whole career: Solid at-bats, strong fielding.

Teoscar Hernández, .314/.357/.549

It appears the 2024 version of Hernández has been re-introduced after consumers weren’t satisfied by the 2025 model.

Hyeseong Kim, .308/.412/.385

Kim was hitting the cover off the ball in his brief stint in the minors, and has continued to hit and field well in the majors. It’s only 13 at-bats, the same number as Rushing, but the Dodgers will have an interesting roster decision to make when Mookie Betts is ready to return.

Will Smith, .298/.400/.426

Best catcher in the game continues to prove it.

Freddie Freeman, .273/.324/.485

Batting average isn’t where it usually is, but, and stop me if you’ve heard this before, it’s still very early.

Shohei Ohtani, .267/.410/.533

I hear he can pitch a little too.

Kyle Tucker, .237/.352/.305

The first disappointment on the list. Two extra-base hits in 71 plate appearances. 16 strikeouts, nine walks. After 16 games last season, Michael Conforto was hitting .200/.333/.422 with six extra-base hits.

Max Muncy, .226/.317/.453

This is what Muncy does. Can look lost one game (striking out four homers Monday), just two days after hitting three homers in a game.

Alex Freeland, .220/.289/341

Had a great first game, but hasn’t quite found his groove since then. Will he eventually find it, or is he Miguel Vargas 2.0?

Mookie Betts, .179/.281/.429

Played eight games before he got injured. We are still waiting to see if last season was his new norm as a hitter, or just a down year.

Santiago Espinal, .154/.154/.231

Has had only 13 at-bats, but seems to be the last man on the bench. Does he go when Betts comes back?

Now we move on the pitching, listed in order of ERA:

Shohei Ohtani, 1-0, 0.00 ERA

I guess we could quibble a bit about his walk rate (three walks per nine IP).

Alex Vesia, 0-0, 0.00 ERA, 1 save

Gives what he always gives, high emotion, high energy, good results.

Blake Treinen, 0-0, 0.00 ERA

Has struck out four and walked three in 5 1/3 innings. If the old Treinen is back, then the Dodgers will cruise to the NL West title.

Will Klein, 1-0, 1.17 ERA

The new fan favorite looks great out there, and it appears that amazing World Series performance elevated him to a different level.

Tanner Scott, 0-0, 1.17 ERA

Has pitched in more games than any other reliever (nine) and has given up five hits in 7 2/3 innings. Looks like his old self out there.

Justin Wrobleski, 2-0, 2.12 ERA

Who picked Wrobleski to have the best start as a Dodger so far this season?

Yoshinobu Yamamoto, 2-1, 2.50 ERA

Is Ohtani the ace, or Yamamoto? A good problem to have.

Jack Dreyer, 1-0, 2.84 ERA

A key left-hander they go to early, Dreyer has done well and made trading Anthony Banda a little easier to swallow.

Tyler Glasnow, 1-0, 4.00 ERA

Has pitched into a little bad luck, as his FIP is 2.81. He has struck out 22, walked four and given up 13 hits in 18 innings.

Edgardo Henriquez, 1-0, 5.40 ERA

Henriquez has an electric arm, but his numbers never seem to reflect that.

Edwin Díaz, 1-0, 6.00 ERA, 4 saves

The problem with being a reliever is that a bad outing can ruin your ERA for a couple of weeks. As Maddie Lee reported Sunday, Díaz’s velocity has been down this season and Friday (when he had his first blown save), his fastball velocity sat at 95.5 mph and slider at 87.8, according to Statcast, 1.7 mph and 1.3 mph down from last season, respectively.

“Two miles an hour, that’s pretty significant,” Roberts said Sunday. “So I think that’s why we sort of flagged it. We wanted to have him down [Saturday] and kind of see what we get. Because a couple days ago there were a lot of throws in there too. So just trying to also, like we’ve done many times, play the long game with our guys.”

Roki Sasaki, 0-2, 6.23 ERA

The Dodgers have lost four games, and Sasaki is responsible for two of them. In his other outing, he gave up six runs in five innings. That about sums up his value so far.

Emmet Sheehan, 2-0, 6.60 ERA

Then you have Sheehan, who has pitched about as poorly as Sasaki but has two wins. Baseball is crazy.

Ben Casparius, 0-1, 9.64 ERA

Casparius wins the award for first pitcher to go on the IL. He was put on the 15-day IL on Monday because of shoulder inflammation. Kyle Hurt was brought up to replace him.

Where is Julio Urías?

There hasn’t been much news on former Dodger Julio Urías since he last pitched for the Dodgers in September 2023. He was investigated for domestic abuse and sat out the 2024 season, then was suspended for the first half of the 2025 season. He has been eligible to pitch since then, but unlike Trevor Bauer, who has pitched overseas after his suspension ended, Urías has not surfaced anywhere. And, according to his agent, Scott Boras, who talked to my colleague Bill Shaikin about him, that is by Urías’ choice.

“Teams ask me about him all the time,” Boras said. “With the pitching market in this world, Julio could play in a minute. But I think it’s about him deciding if it’s something he wants to go do right now.”

In case you missed it

How changes last year set up Dodgers’ Justin Wrobleski’s gem against Mets: ‘He was at a crossroads’

Whatever happened to Julio Urías? ‘Teams ask me about him all the time,’ agent says

It’s time for Dodgers’ Roki Sasaki to take next step

Dodgers are being careful with Edwin Díaz but don’t need him in loss to Rangers

Dodgers’ Emmet Sheehan says honing timing was key to a breakthrough win over Rangers

Max Muncy caps his three-homer night with historic walk-off blast for Dodgers

Shaikin: Forget Team USA’s WBC lineup. The Dodgers’ 2026 lineup is baseball’s most elite

And finally

A Vin Scully hightlight reel. Watch and listen here.

Until next time….

Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

Sabrina Carpenter has apologized after sparking backlash for mistaking a Coachella fan’s traditional Arabic cheer for yodeling, which she described as “weird.”

The Grammy winner was performing her first headlining show at Coachella on Friday night when an audience member suddenly let out a high-pitched cry called a zaghrouta.

“My apologies i didn’t see this person with my eyes and couldn’t hear clearly,” Carpenter wrote Saturday on X. “My reaction was pure confusion, sarcasm and not ill intended. Could have handled it better!”

She continued: “Now i know what a Zaghrouta is! I welcome all cheers and yodels from here on out.”

What happened?

The misunderstanding took place between songs. As applause for her previous number, “Please, Please, Please,” faded and Carpenter sat down at the piano for her next number, someone in the crowd suddenly let out a loud trill.

“I think I heard someone yodel,” Carpenter said into the microphone. “Is that what you’re doing? I don’t like it.”

“It’s my culture,” a voice from the audience shouted.

“That’s your culture … is yodeling?” Carpenter responded with a quizzical frown.

“It’s a call, it’s a call of celebration,” the audience member could be heard saying.

“Is this Burning Man? What’s going on? This is weird,” Carpenter replied, before continuing her next song,“We Almost Broke Up Again Last Night.” It was the singer’s first live performance of the single from her new album, “Man’s Best Friend.”

What was the public response?

Carpenter made the public statement after an online uproar. Her apology on X was a quote reply to a post calling her reaction to the fan’s cheer “insensitive and Islamophobic.”

The singer was “mad disrespectful for mocking the zaghrouta,” wrote another X user. “What’s worse is the blatant racism that followed and the laughs of the audience,” they continued.

Carpenter’s apology was generally well-received online, with some fans thanking her for taking accountability. Carpenter’s representatives did not immediately respond to a request for comment.

Carpenter has gone from a child actor known for her role as Maya on Disney’s “Girl Meets World” to pop stardom in the past few years. During her debut at Coachella in 2024, she vowed to return as a headliner. Her Coachella show on Friday was an elaborate Hollywood-themed production — dubbed “Sabrinawood” — packed with references to classic movies, including a dance from 1987’s “Dirty Dancing,” and celebrity cameos.

What is a zaghrouta?

A zaghrouta is a loud, rhythmic sound made by quickly moving the tongue while letting out a high-pitched cry.

Shakira, who was born and raised in Colombia and has Lebanese roots, previously made headlines in 2020 for letting out a zaghrouta during the Super Bowl LIV halftime show.

Nesreen Akhtarkhavari, an associate professor and director of Arabic studies at DePaul University in Chicago, told the Chicago Tribune at the time that the ululation is a Middle Eastern expression of joy made during weddings, sporting events and protests.

Walker Scobell just wants people to stop sending death threats to every teenage girl who might know him — and anybody else.

The 17-year-old “Percy Jackson and the Olympians” star announced Sunday on social media that he will be skipping his prom and called out those who are threatening everyone who could potentially be in his orbit because of where they live.

“Just to let everyone know, I will not be attending prom,” Scobell, who plays the titular demigod in the Disney+ series, wrote in a message posted to his Instagram Story. “Please stop sending death threats to EVERY teenage girl who could remotely be associated with me based on their proximity to where I live. It’s not fair to them or their families.”

“Maybe also just stop sending death threats in general,” he added. “That’s just not cool. Kinda weird I have to say this.”

“Kinda weird” indeed.

Based on the book series by Rick Riordan, “Percy Jackson” is a coming-of-age twist on ancient Greek mythology that follows Sobell’s title character as he learns he is the half-human son of Poseidon and what that means for him. Scobell was 13 when he was cast in the show.

The actor previously said that it felt “a little bit weird” to go back to school after the first season of the series had been released but it helped that he’s been going to the same school since the fourth grade.

“Because I feel like I know everybody so well, and I’ve known them for such a long time that … it’s weirder to act like it’s weird,” Scobell told People earlier this year. “I feel like you just accept it right away, and everyone has, which has been super nice for me.”

This is not the first time the “Percy Jackson” franchise’s so-called fans have been out of line.

Aryan Simhadri, who portrays Percy’s best friend Grover Underwood in the series, spoke out last year about an unsettling encounter with a handsy fan when a group of “40 drunk college girls” recognized him.

“I was feeling pretty uncomfortable, so I put my hands in my back pockets,” Simhadri told Entertainment Weekly. “And then she reached around and put her hand inside of my back pocket, with my hand already in there. There’s not enough room in the back pocket of jeans for more than one hand. She lingered there a little longer than I would have liked. Not that I would have liked it at all.”

And Leah Jeffries, who plays Percy’s other best friend, Annabeth Chase, was the target of racist backlash when her casting was announced in 2022. Riordan, who also co-created the show, slammed the attacks in a blog post at the time, saying, “We should be able to agree that bullying and harassing a child online is inexcusably wrong.”

Coachella is never cheap, much less this year’s sold-out edition with the long-awaited live return of Justin Bieber. But if you’re looking to score a last-minute pass, you likely lost your swag when you saw the resale prices on secondary sites like StubHub.

As of Friday afternoon, you’ll pay between $4,000 and $5,000 for a sold-out weekend one GA pass on StubHub. (Prices are lower for weekend two on Coachella’s official resale site. Weekend one tickets originally retailed for $649).

“That’s insane,” said California Assemblymember Matt Haney (D-San Francisco), who has introduced AB 1720, the California Fans First Act, to combat extortionate ticket re-selling. Haney’s bill would ban reselling tickets at more than 10% above face value in California.

“We’ve allowed live events including Coachella to be dominated by speculators who aren’t fans, but who simply want to profit off these events,” he continued. “They didn’t contribute to Coachella, they don’t play an instrument. They’re using events as a way to screw over fans and jack up prices. The result is that people who are Justin Bieber fans pay eight or nine times over the face value of a ticket.”

The proposal comes as the U.S. Department of Justice recently announced a settlement with Live Nation in a federal suit that will allow it to keep control of Ticketmaster. Many states, including California, are looking at options to pursue their own legal action and legislation to fix a ticket market fans have come to see as deeply broken.

Coachella, produced by Goldenvoice and AEG, isn’t affiliated with Live Nation or Ticketmaster. But eye-watering secondary market prices are an example of how desirable concerts have become a hot commodity for predatory resellers.

“We’ve got to break up [Live Nation’s] monopoly, but there is a problem with the secondary market and the ways we’ve allowed scalpers to crowd out fans. That exists on all platforms,” Haney said. “We’ve got to address monopolies and ridiculous fees in direct ticket sales, but we also can’t allow scalpers to buy up tickets to profit off the art of others. I have no doubt that if we didn’t allow gambling on ticket prices, there would still be Coachella tickets available for fans.”

The issue of high concert prices is multifaceted, and artists and promoters play more of a role than many fans want to believe. The technology exists for many tours to do what Haney’s bill proposes — cap resale prices — on their own. Fans clearly are willing to pay extremely high prices for in-demand performances like Coachella.

“If people are willing to pay a lot to see a performance,” Haney said, “Those dollars should go to the artist, to folks who work at the event. If demand is high, tickets may be expensive, but we shouldn’t allow scalpers to create scarcity and higher prices.”

If the California Fans First Act were to pass (it’s still working through the Assembly) it would bring the state‘s ticket market more in line with many European countries that already ban exorbitant resale practices. Other states like New York are considering similar legislation, and in the absence of federal action to address issues in the ticket market, state legislation may be the next best option.

Haney hopes California — a state whose cultural identity and economy is deeply tied to live music — can lead on that front.

“There is no California without creators and culture and music,” he said. “It’s the heart and soul of who we are, it’s a massive part of our economy and part of our culture. We have to make sure creators can receive the support for their art, and that fans have the opportunity to experience it. Right now, we’re losing on both fronts. There’s an urgency for this legislation here more than anywhere because of how central it is to who we are.”

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell. Today, we remember a Dodgers icon.

Sad news in Dodgersland this week as Davey Lopes, member of the famed Garvey-Lopes-Russell-Cey infield, died at the age of 80.

“Even though Davey may have been the less visible of the famous long-running Dodger infield with Cey, Russell and Garvey, his impact on the team’s success was huge,” former Dodgers owner and president Peter O’Malley told The Times. “All Dodger fans will always remember the excitement he gave us on the basepaths and I admire his commitment to the game managing, coaching and instructing after his playing days.”

Lopes was born May 3, 1945, in East Providence, R.I. He did not remember his father, who died when Lopes was 2. His mother, Mary Rose, supported Lopes and his nine siblings on the meager salary she earned as a maid. Lopes found solace in baseball.

“If it hadn’t been for sports, there’s no telling what I’d be or where I’d be,” Lopes told former Times baseball columnist Ross Newhan in 1973. “I had one glove until I got to high school. I guess I can admit now that I confiscated more than a few bats and balls.”

Lopes found a mentor in baseball coach Michael Sarkesian, who usually coached the team Lopes was playing against while growing up. Sarkesian remembers Lopes, though, and brought him to Iowa Wesleyan when Sarkesian became the athletic director there.

“Whatever I missed by not really having had a father, Sarkesian provided,” Lopes told Newhan. “He could relate to my problems, my environment. The drive, the determination, not to give in to the ghetto, to make something of my life, stems from my relations with him.”

Lopes was an NAIA All-American at Wesleyan and then followed Sarkesian to Washburn University in Topeka, Kan. He hit .380 and was selected by the San Francisco Giants in the seventh round of the 1967 MLB draft. He turned them down, then signed with the Dodgers when they chose him in the second round of the secondary phase of the 1968 draft.

He played his first two seasons at Class A Daytona Beach, hitting .247 with 26 steals in 82 games in 1968, then hitting .280 with 32 steals in 72 games in 1969.

Davey Lopes steals second while Reds shortstop Davey Concepcion awaits the throw in a 1980 game.

(Joe Kennedy / Los Angeles Times)

Lopes was promoted to triple-A Spokane in 1970, and it was there that he met Tommy Lasorda, who was managing Spokane, and where the Dodgers converted Lopes from an outfielder to a second baseman under the tutelage of Monty Basgall. He was focused on learning a new position and stole only 11 bases, but rebounded in 1971 to hit .306 with 27 steals.

After another standout year in 1972, the Dodgers called him up to the majors for the first time for the final two weeks of the season. He stole four bases in four attempts.

At spring training in 1973, Lopes battled with Lee Lacy for the second base job and lost. But Lacy got off to a terrible start and Walter Alston made Lopes the starting second baseman on April 22. And he remained the starting second baseman until the 1982 season.

Eventually, Bill Russell, Ron Cey and Steve Garvey found their way into the starting lineup and on June 23, 1973, the foursome started together for the first time and stayed together for nine seasons, the longest-running infield in MLB history.

Lopes was the spark plug atop the lineup, becoming one of the best base stealers in the game. “I realize that when I’m running and stealing bases, I’m setting the momentum and getting the adrenaline going for the rest of the lineup,” Lopes told Newhan in 1974. “And until someone proves he can stop me, or the situation dictates I don’t run, I’m going to be stealing all the time.”

Hall of Fame catcher Johnny Bench once called Lopes the best base stealer in the game.

Beginning in 1975, Lopes racked up some impressive stolen base numbers:

1975*: 77 steals, 12 caught stealing, 86.5% success rate.
1976*: 63 steals, 10 caught stealing, 86.3%
1977: 47 steals, 12 caught stealing, 79.7%
1978: 45 steals, four caught stealing, 91.8%
1979: 44 steals, four caught stealing, 91.7%

*-Led league in steals.

In those five seasons, he stole 276 bases and was caught only 42 times, an amazing 86.8% success rate. He is the best base stealer in Dodger history. Maury Wills stole more often, but Lopes was more successful.

In 1975, Lopes stole 38 bases in a row from June 10 to August 24 to break Max Carey’s mark of 36 in a row set during the 1922-23 seasons. He was finally thrown out by Montreal’s Gary Carter in the 12th inning of a game.

In postseason play for the Dodgers, Lopes hit .241 with six home runs, 22 RBIs, 28 runs scored and 20 steals in 50 games, as the Dodgers lost in the World Series to Oakland (1974) and the Yankees twice (1977-78) before finally breaking through against the Yankees in 1981.

Lopes’ mentor with the Dodgers was Jim Gilliam. One day after the Dodgers won the 1978 NLCS, Gilliam died, leaving Lopes distraught. He channeled his emotions into an incredible Game 1 of the World Series, hitting two home runs and driving in five in an 11-5 rout. After his first homer, Lopes pointed to the sky to acknowledge Gilliam. A couple of years later, “The Bronx Zoo” by Yankees reliever Sparky Lyle was published. In it, he wrote about Lopes, saying, and I’m paraphrasing here, that it was bush league for Lopes to put up “We’re No. 1” while circling the bases, that the Dodgers had no class and that the Red Sox were better than the Dodgers. He had missed the point completely.

“They can do anything they want with us now,” Lopes said after the 1981 World Series victory. “I’ve got the ring. They can’t take that away from me.”

From left, Ron Cey, Bill Russell, Davey Lopes and Steve Garvey reunite in 2013.

(Los Angeles Times)

His comments contained a bit of foreshadowing. Lopes had his worst season in 1981, hitting .206 in 58 games of a strike-interrupted season (though he still stole 20 bases while being caught only twice). The Dodgers had prized prospect Steve Sax waiting in the wings. So, on Feb. 8, 1982, the Dodgers traded Lopes to Oakland for Lance Hudson. If you’ve never heard of Hudson, that’s OK, because he never made it to the majors. In essence, the Dodgers gave Lopes away for nothing.

Lopes was far from through, though. He hit .242 with the A’s in 1982 and .277 with 17 homers and 22 steals in 1983. Oakland sent him to the Chicago Cubs near the end of the 1984 season for pitcher Chuck Rainey. And in 1985, Lopes had a season for the ages, or at least, aged. At the age of 40, he stole 47 bases and was caught only four times while hitting .284/.383/.444 with 11 homers and 44 RBIs in 99 games. It is still the record for most stolen bases at age 40. Rickey Henderson is next with 37 in 1999.

Lopes finished his career with two seasons with the Astros, retiring after the 1987 season. He then began a long career as coach and manager, including a stint as first base coach for the Dodgers from 2011-15. Then GM Ned Colletti made it his mission to bring Lopes back as a coach.

Colletti had this to say after learning of Lopes’ death: “Davey Lopes transformed coaching at first base. His situational awareness and intricacy of coaching first base was the best I have ever watched. He changed a coaching position and how it was executed — base running, secondary leads, pitch tipping, cutting your steps from first to third.

“His contract has expired in Philadelphia [after the 2010 season] and I went and recruited him back. He helped players and, therefore, teams, get better. He could find any advantage and he was a great teacher. He was one of my favorite people.”

Former Dodgers reliever Tom Niedenfuer, who played with Lopes on the 1981 championship team, had this to say: “Davey was 15 years older than me and he was quiet with us new guys. But he treated us as equals and was helpful. It had to be tough seeing Sax come up and knowing his days were numbered.”

Among the 112 players with at least 350 stolen bases, Lopes is fifth in stolen base percentage:

1. Tim Raines, 808 steals, 146 caught, 84.7%
2. Willie Wilson, 668-134, 83.3%
3. Barry Larkin, 379-77, 83.11%
4. Tony Womack, 363-74, 83.07%
5. Davey Lopes, 557-114, 83%
6. Jimmy Rollins, 470-105, 81.7%
7. Carl Crawford, 480-109, 81.5%
8. Ichiro Suzuki, 509-117, 81.3%
9. Joe Morgan, 689-162, 81%
10. Vince Coleman, 752-177, 80.9%

Rickey Henderson is 11th with an 80.8% success rate. Maury Wills is 42nd at 73.8%. Steve Sax 49th at 71.4%. Ty Cobb 81st at 64.3%.

How was Lopes so successful? In an interview with Ross Porter, he said, “Well, it’s just not running by chance. I studied the pitchers. I tried to look for idiosyncrasies in their bodies that tell me when they go to first base compared to going home. Try to pick that up, react to it as quickly as I possibly can.”

He also told Porter his favorite moment of his career: “Actually, the first time I ran on the field. It was like I had reached a goal I set as a kid — to be a Dodger. I always wanted to be a Brooklyn Dodger, but for some reason, they left Brooklyn. We won’t get into that. But to do it as a Dodger — that meant everything. It was kind of like second best, but it was like I arrived.”

As a leadoff hitter, Lopes would often bat after the pitcher. I always enjoyed watching Lopes stall for time when the pitcher had to run hard during his at-bat. To give the pitcher ample time to rest in the dugout, especially if there were two out, Lopes had a variety of delay tactics before getting to the batter’s box. He’d give a couple of extra swings in the on-deck circle. He’d walk to the plate, then stop and go back to the on-deck circle to get some extra pine tar. He’d “have trouble” getting the weighted circle off his bat. He’d take the first pitch and then call time. It was a master class in looking at the big picture.

Our best wishes to Lopes’ family, friends and former teammates. He will be missed.

More sad news

Miguel Rojas was all set to play Tuesday against Toronto when he learned that his father had passed away in Venezuela.

“There’s nothing I could do being this far,” Rojas told reporters Wednesday. “Just support my family, and trying to understand a little bit of what’s going on. I found out that my dad, on the way to the hospital, passed away. He couldn’t live through the heart attack that he had. So it was suddenly that he passed away; he was feeling good. Really hard to understand. I’m still trying to process the whole thing.”

Micky Rojas’ funeral was Wednesday. “That’s how they do things in Venezuela,” Miguel Rojas said. “It happens quick because they have to. They don’t have many places to hold these funerals.”

Rojas played Wednesday and wanted to play Tuesday until a couple of Dodgers talked him out of it. He said later he was glad that Dave Roberts and Freddie Freeman took that decision out of his hands. But Rojas was adamant about playing Wednesday.

“It’s going to be emotional, yes, for me, I understand that,” Rojas said. “But I’ve been through moments like this before with my mom, my grandparents. I know what they want me to do is play baseball. They raised me up and they gave up everything in their life for me to be a baseball player. This is what they want me to do. They know how much pride I take in showing up every day, and not letting my teammates down.”

We send out best wishes to Rojas and his family. You can read more about the situation in this story by Maddie Lee.

What about the team?

We will discuss the team in detail starting next week. It has been a strange two weeks with Charley Steiner, Lopes and Rojas, and sometimes life is more important that baseball. I received over 500 emails about Steiner, and some of them will appear in a special edition of this newsletter in the next couple of weeks.

Up next

Friday: Texas (Kumar Rocker, 0-1, 3.60 ERA) at Dodgers (Tyler Glasnow, 1-0, 3.00 ERA), 7:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

Saturday: Texas (Jack Leiter, 1-0, 2.45 ERA) at Dodgers (Emmet Sheehan, 1-0, 8.00 ERA), 6:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

Sunday: Texas (Jacob deGrom, 0-0, 3.72 ERA) at Dodgers (Roki Sasaki, 0-1, 7.00 ERA), 1:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

*-left-handed

In case you missed it

Tough day for Dodgers and Miguel Rojas following the death of his father

Davey Lopes, part of Dodgers’ historic infield and World Series winner, dies at age 80

These Canadian kids absolutely torched Freddie Freeman — and all for a good cause

Shohei Ohtani matches Ichiro’s on-base mark and adds to another impressive streak

Shaikin: Yoshinobu Yamamoto winning a Cy Young doesn’t mesh with a Dodgers three-peat

Shaikin: Dodgers continue to be the evil American mercenaries Toronto fans love to hate

Dodgers’ Andy Pages scorching start at the plate turning heads. ‘I really like his work’

Mookie Betts offers no specific timeline on when he’ll return from injury

And finally

Davey Lopes hits two home runs in Game 1 of the 1978 World Series. Watch and listen here.

Until next time….

Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

Mere hours after gracing the “Euphoria” Season 3 premiere red carpet, disrobing to reveal a sheer top, beige corset bottoms and lace stockings that became the talk of the town, then jetting over to LAX to catch a red-eye to New York, Natasha Lyonne was reportedly removed from her Delta flight.

According to Page Six, the “Poker Face” star hadn’t changed out of her red carpet look before taking her seat in first class, where she promptly dozed off. Flight attendants tried to rouse Lyonne and asked her to close her laptop and fasten her seatbelt, but the outlet reports she was incommunicado and appeared to be zonked out behind her shades.

Onlookers said that, as several flight attendants tried to stir Lyonne, removed her laptop and asked if she needed medical attention, she seemed out of it, and asked, “Where are we?”

Attendants ultimately had to tell Lyonne the plane wouldn’t be going anywhere until the actor got off, to which she reportedly obliged.

Due to the series of events, Lyonne missed her scheduled Wednesday morning appearance on “The Drew Barrymore Show.”

“My heart is with all the unpaid TSA agents at our airports,” she wrote on X alongside a pink heart emoji. “Sure was looking forward to speaking honestly with @DrewBarrymore yesterday but guess wasn’t in the cards.”

Fans of Lyonne commented on the post, worried and checking in with the actor, who has long been candid about her battle with addiction. After 10 years of sobriety, the “Orange Is the New Black” star revealed that she relapsed earlier this year in a social media post that has since been deleted.

In March, she checked in with her online followers again, reassuring fans she was on the mend.

“Proud to report this kid is doing a whole lot better & back on her feet. Want to thank our recovery communities & the fans who stood by & were so supportive,” she wrote on X. “Aiming to keep the journey somehow private, but look forward to sharing my experience, strength & hope as makes sense. My heart is with everyone ever going through it.”

Representatives for Lyonne have not responded to a request for comment.

Xander Schauffele made par on the eighth hole Thursday at Augusta National.

What was noteworthy about that accomplishment is he did it after his tee shot landed in a most unusual spot: A fan’s merchandise bag.

During the opening round of the 2026 Masters tournament, Schauffele’s shot on the par-5 hole sailed just left of the fairway and somehow came to rest inside a woman’s clear plastic shopping bag, which appeared to be sitting on the ground.

Spectators chuckled as Schauffele and an official made their way to the bag and located the ball within it. After Schauffele used a tee to mark the ball’s location on the ground, he retrieved the ball and returned the bag to its owner. He was able to continue play without penalty.

“It just flew straight into the bag,” Schauffele said after finishing his round with a 2-under 70. “It was a great break. That bounce would’ve put me in the pine straw and who knows if I would’ve had a shot to hit up the hill.”

“So thanks to the lady on 8,” added Schauffele, the two-time major championship winner whose best Masters finish was a tie for second in 2019.

No doubt, Schauffele got lucky — but not as lucky as Louis Oosthuizen in the final round of the 2016 Masters. Oosthuizen sent his tee shot on the 16th to the green, where the ball collided with that of J.B. Holmes, changed direction and rolled in for a hole-in-one.

Schauffele’s shot also brings to mind another, perhaps even more bizarre, play from the first round of the 2021 Masters. Playing from partially behind a tree on the seventh hole, Rory McIlroy missed the right side of the fairway with a high shot that ricocheted off the back of his father’s leg on the way down.

Luckily, Gerry McIlroy was unharmed. His son, however, bogeyed that hole on his way to a 4-over 76 for the round.

The Associated Press contributed to this report.

The Dept. of Justice is investigating the NFL’s media deals with streaming companies as more of its games go behind subscription pay walls.

The investigation first reported by the Wall Street Journal centers on the financial impact of live sports streaming on consumers and whether the league’s traditional broadcast partners are getting fair treatment.

The Justice Dept. did not respond to a request for comment. A government official told NBC News the DOJ’s investigation into the NFL is “about affordability for consumers and creating an even playing field for providers.”

Early last month, Sen. Mike Lee, R-Utah requested the investigation in a letter to the DOJ, and issued a statement Thursday on X saying he was glad to see it move forward.

The Sports Broadcasting Act passed by Congress in 1961 allowed professional football teams to collectively license the TV rights of their games to national broadcast networks without running afoul of anti-trust laws. Lee noted that courts have recognized the act refers to broadcasts “financed through advertising and made available free to the public.”

Lee said sports packages that go behind subscription paywalls “no longer align” with the intention of the act which was passed when the public only had access to three TV networks.

The NFL has not received a letter from the DOJ saying it is under investigation, according to a person familiar with the matter who was not authorized to comment. But the league issued a statement asserting that fans can see every NFL game played by the teams in their markets for free on broadcast TV unlike every other major sport.

“The NFL’s media distribution model is the most fan and broadcaster-friendly in the entire sports and entertainment industry,” the league said. “The NFL has for decades put our fans front and center in how we distribute our content.”

The NFL said 87% its games can be watched on free TV. The other 13% on streaming and cable platforms are made available on the local TV stations of the teams involved in those contests.

The sports rights landscape has shifted dramatically in the last 10 years as deep pocketed tech companies such as Amazon, Google and Netflix have provided the NFL with significant leverage in its negotiations with its longtime TV partners NBC, CBS, Fox and ESPN.

While streaming companies initially eschewed live sports because of the high cost of rights fees, they have found them to be an effective way to bring a massive number of viewers to their platforms.

Amazon Prime Video is paying $1.5 billion a year for the rights to “Thursday Night Football,” a package that was a money loser when carried by the broadcast networks. Netflix has picked up the rights to games on Christmas Day, while Google’s YouTube became the home of the Sunday Ticket package that gives subscribers access to out-of-market games.

The pressure from the newer competitors comes at a time when companies with traditional TV networks depend on the NFL more than ever as it provides the highest rated programming by a wide margin. The NFL packages also give TV station groups with leverage in negotiating carriage deal fees with cable and satellite companies.

Tensions over the rising rights fees are growing as the NFL has the right to open up the deal with Paramount, because the company underwent an ownership change last year when acquired by Skydance Media. The league is reportedly looking for another $1 billion annually from Paramount which is already paying $2.1 billion a year for its package of games on CBS.

The league has also made it clear it plans to exercise its option in 2029 to open the current 10-year media rights contract that runs through the 2032-33 season.

Fox Corporation — home of the Trump-friendly Fox News Channel — heavily depends on the NFL for programming on its TV stations — has already raised concerns about the renegotiation.

Executive Chairman Lachlan Murdoch has said he believes the $2.5 billion a year Fox pays the NFL is “fair market value.” But he has also told Wall Street analysts the company may have to re-examine its other sports deals in preparation to pay more to the NFL going forward.

Last week, Fox and station group owner Sinclair Broadcasting filed a statement with the FCC asserting that the NFL’s antitrust exemption does not apply to streaming platforms that require paid subscriptions.

“Congress provided a valuable exemption from the antitrust laws for leagues that bargain collectively for sports broadcasting,” wrote Joseph Di Scipio, Fox Corp.’s senior VP, legal and FCC compliance. “But on its face, the statute does not exempt negotiations that the leagues may have with streaming services.”

When the first two seasons of HBO’s teen drama “Euphoria” aired on Sunday nights, 25-year-old actor and singer Al-akhir Fletcher remembers racing online the second each episode ended, toggling between X (then Twitter) and FaceTime just to keep up with the collective reaction.

“I felt like I had to watch because I didn’t want any spoilers,” he recalled. “I didn’t want anyone to tell me about it. There was maybe one week I tried to wait to binge-watch it, and I couldn’t. Everybody was talking about it.”

That anticipation for Season 3, premiering Sunday, still lingers for Fletcher, though it’s tempered now by doubt and distance, thanks to a four-year gap between seasons. Nevertheless, Fletcher said he’ll finish the show.

“Only because I feel like I’ve invested so much already into the show and into the characters and in their stories,” he said. “So I do want to see it through. I want to know what happens, but there is a little bit of hesitation, especially with hearing about all of the politics and the behind-the-scenes drama of what’s happened with the show.”

When Euphoria last aired in 2022, it turned Maddy Perez’s cutout dresses into a going-out uniform, transformed Cassie Howard’s unraveling into a meme with a saying that everyone understood (“I have never, ever been happier”), and sent Labrinth’s score ricocheting across TikTok in slow-motion edits and tear-streaked montages. It also made bona fide stars out of its cast: Zendaya became an Emmy winner, in-demand actor and fashion icon; similarly, Sydney Sweeney has become an onscreen mainstay, and Jacob Elordi, an Oscar nominee this year.

And, crucially, for a stretch, “Euphoria” made HBO feel like a destination again, with episodes that demanded to be seen in real time and dissected instantly before the night was over.

In the four years since its previous season, though, Hollywood has endured dual labor strikes, streamers have tightened budgets and audiences have fractured into increasingly niche viewing habits. The monoculture that once lifted “Euphoria” has thinned, if it even exists at all.

So as the show returns after an unusually long hiatus, the question isn’t just what happens next for Rue and the gang, but whether “Euphoria” can still hit the way it once did. What we do know is the series isn’t picking up where it left off. Season 3 leaps forward five years, aging its characters out of high school and into a much murkier version of adulthood. Maddy (Alexa Demie) is working for a talent agent and navigating the blurry line between managing actors, influencers and potentially sex work-adjacent clients. Cassie (Sweeney) and Nate (Elordi) are set to marry, all while Cassie is attempting to start an OnlyFans account. And then there’s Rue (Zendaya), whose story can’t outrun the looming debt she owes a drug dealer.

“Euphoria’s” Season 3 returning cast, clockwise from left: Jacob Elordi, Alexa Demie and Sydney Sweeney. (Partick Wymore / HBO) (Jeremy Colegrove / HBO) (HBO)

Can a series disappear for four years and reclaim its choke hold on the culture?

Uncertainty hangs over its return and whether more seasons could be expected. (The show’s creator, Sam Levinson, has been evasive about declaring it the final season, while Zendaya told Drew Barrymore this week she believed it was.)

Interviews with fans and media experts suggest there’s no consensus on whether viewers will flock back like before. Some see “Euphoria” as too big to fail, a brand with enough residual heat to dominate conversation on arrival. Others aren’t so sure, pointing to the long hiatus, the off-screen turmoil and a television landscape that no longer moves in lockstep.

What made the show a breakout hit

Part of what makes questions around the show so difficult to answer is how singular “Euphoria” felt when it first arrived in 2019. At the time, HBO wasn’t in the business of teen dramas. The network had long built its identity on adult prestige — crime sagas, antiheroes and sprawling family epics — not stories centered on high schoolers. “Euphoria” marked a strategic shift, one that aimed to pull in younger viewers without diluting the network’s edge.

“I think this was supposed to be their first foray into quote-unquote young adult programming,” said Michel Ghanem, who writes about television. “They were interested in capturing a younger viewership who maybe hadn’t watched that much HBO up until then.”

What emerged didn’t resemble the traditional teen drama playbook. “Euphoria” was moodier and leaned into storylines rooted in addiction, sex and emotional volatility. HBO began experimenting more broadly with shows like “The Sex Lives of College Girls” and “Generation,” but “Euphoria” stood apart in both tone and ambition. The risk paid off.

“It grabbed on to an audience that loved the cast and the performances and the soundtrack and the cinematography,” Ghanem said. “So I think all of those elements together sort of made it into appointment television.”

Hunter Schafer, left, and Zendaya in Season 1 of “Euphoria.” The show premiered in 2019, becoming a hit for HBO.

(Eddy Chen / HBO)

Beneath the glitter and surreal visuals, some viewers saw versions of people and situations they already knew.

“I found a lot of familiarity in it because of being from L.A.,” said Darryl McCrary, a creative artist who is based here. “I felt like I knew the teenagers. I knew the secret drug addict and the out drug addict and the drug dealers. It felt very familiar. It felt like home in a way.”

Aspiring actor and “Euphoria” fan Cheyenne Washington, who grew up in a small town in Connecticut, also recognized the characters. “I went to high school with people like this. My high school isn’t like how it is on Disney Channel. My high school was ‘Euphoria.’”

By its second season, “Euphoria” had become one of HBO’s most-watched series, with episodes drawing millions of viewers. The Season 2 finale pulled in more than 6 million viewers across platforms, cementing the show as a crossover hit.

“That was the show that my students were talking about,” said Jason Mittell, professor of film and media culture at Middlebury College. “‘Euphoria’ is the buzz show amongst younger people, amongst people who were sort of hyper-online, amongst critics; it was something that was really talked about. That’s the thing that sort of raises it up.”

Why production stalled

While the dual Hollywood strikes were one factor in the delay in production, “Euphoria” was also affected by the sudden deaths of actor Angus Cloud, who played Fezco, and executive producer Kevin Turen, who was considered a key force in the show. There were reports of creative tension between Zendaya and Levinson. At the same time, its young cast had transformed into a roster of in-demand movie stars, with schedules and expectations that look very different from when the show began.

“This new season has to kind of do something new and really break new ground to gain the buzz,” Mittell said. “There is a scenario, depending on how they market it, that it actually could get pretty good viewership. But I think that it’s also just ripe for disappointment. Can you just imagine all the takes that are being written right now? Like, ‘Why “Euphoria” shouldn’t have come back.’ There’s so many people eager to write that.”

And yet, the show’s scale and the fame of the people in it may insulate it from outright failure. “Jacob Elordi, Sydney Sweeney — these are some of the biggest actors on the planet now,” Ghanem said. “Even if the show ends up being a creative flop, I think we’re all going to tune in because we want to see those actors together again and see what storyline Sam Levinson will come up with. There’s no possible world where this third season isn’t a massive hit. There’s just no way.”

Angus Cloud, who played Fezco in “Euphoria,” died in 2023 after an overdose. (Evan Agostini / Invision / AP)

“Euphoria” executive producer Kevin Turen also died in 2023. (Jack Plunkett / Invision / Associated Press)

What has shifted more dramatically is how the show and its creator are perceived, experts and fans said. Since “Euphoria” first aired in 2019, Levinson’s profile has evolved, particularly following the backlash to his HBO series “The Idol,” which was widely panned by critics and plagued by reports of behind-the-scenes turmoil. That scrutiny has extended back to “Euphoria,” with renewed criticism around its portrayal of sex, nudity and teenage characters.

“Since 2019, when the first season aired, there have been a lot of conversations around what Gen Z really wants to see on screen,” Ghanem said. “The show’s reputation isn’t unscathed. And I think people are more critical of Sam Levinson’s work.”

That shift may be especially pronounced among younger viewers, who may have been turned off by “The Idol’s” gratuitousness.

“We’ve had all of these recent studies about younger people who don’t necessarily want to see sexually explicit material anymore,” said Brandy Monk-Payton, assistant professor at Fordham University. “They want to see more development of platonic relationships and asexual connections.”

Can a time gap still lead to success?

Long breaks aren’t unheard of on TV, but they’re rarely this long for a show that’s still trying to hold on to cultural urgency. And history suggests that returning is one thing, but recapturing the same intensity of viewership and fandom is another.

Several recent dramas have tested that gap. “Stranger Things” stretched years between seasons as its young cast aged into adulthood, returning to massive viewership, but, some critics and fans argued, with an ending that felt obligatory.

“They weren’t reckless enough with their characters,” McCrary said.

“The Handmaid’s Tale,” once a defining show of the late 2010s, continued after extended pauses but struggled to maintain the cultural grip it once held.

“I think because of the social and political climate of that show, the interest in it waned,” Monk-Payton said. “We didn’t want to be in the world of Gilead anymore. So do fans want to reenter the world that is ‘Euphoria,’ that sensational world of drug addiction and sex and violence?”

Even “Severance,” which earned critical acclaim and awards recognition after its long-awaited second season, sparked debate among viewers about whether it matched the precision and novelty of its first. The pattern, experts say, is less about whether the audience comes back and more about what they come back expecting.

For Monk-Payton, that expectation functions almost like an unwritten agreement between a show and its viewers.

“It has to retain its contract with the audience,” she said, pointing to the balance between continuity and change. “There has to be some kind of familiarity in the characters and relationships, but also growth — something new that justifies coming back.”

That balance, she argues, is where many returning shows falter. Monk-Payton said in the case of “Severance,” what began as a sharply observed workplace sci-fi story expanded into denser mythology in its second season. Though Apple TV announced that “Severance” had become its No. 1 series, she said the show’s evolution didn’t land the same way for all viewers.

“When shows come back after a gap, they can misread what audiences connected to in the first place,” she said.

The risk for “Euphoria” is similar. If its return leans too far away from the emotional core that defined it, or reshapes its characters beyond recognition, it could strain the connection.

“If we don’t recognize Rue or the others in some fundamental way, that’s risky,” Monk-Payton said. “Some viewers will keep watching to see how it ends because they’re completionists. But others may feel that disconnect.”

Netflix has shared an update on Love on the Spectrum’s fifth season

The future of Netflix’s Love on the Spectrum has been confirmed, but there’s good and bad news.

Fans have been following the dating show for six seasons overall, including two instalments of Love on the Spectrum: Australia. It centres around adults on the autism spectrum as they tackle the uncertain world of romance.

Season four was released on April 1st, coinciding with Autism Acceptance Month, and has already climbed Netflix’s most-watched charts.

This series shed light on couples viewers have become obsessed with over the last few years, as well as newcomers who want their own shot at love.

But what does the future hold for Love on the Spectrum?

Will Love on the Spectrum return for season 5?

Yes, Netflix has confirmed that the dating show will come back for a fifth series.

The streaming giant has also teased what’s in store. “In Season 5, Love on the Spectrum will follow a group of neurodivergent daters as they navigate the confusing world of relationships,” they shared.

“By learning the inexplicable rules of dating (rule No. 1: don’t say “I love you” on the first date) and embracing the many intricacies of communication styles and sensory sensitivities, the romantic hopefuls offer an unfiltered look at life and love on the spectrum.”

The news comes as fan favourite Connor Tomlinson shared his own major update.

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Is Connor returning for Love on the Spectrum season 5?

Connor has confirmed that he will not return to the show for series five. He told Variety that three seasons were “enough to tell his story”.

“It is with humility and a heavy heart that I share I will not be partaking in season five,” he told the publication. Connor went on to joke: “I’ve chosen to pass the torch to the next person who can make it as big as me.”

But it probably won’t be the last time fans see the Netflix star as he is venturing into acting.

He explained: “Don’t worry about me — I’m still going to be in the acting business, especially voice work. I’ve always been a huge fan of animation and would love to be involved with a TV show.”

Love on the Spectrum is streaming now on Netflix.

Eamonn Holmes’ future on live TV has been revealed after he concerned fans by ‘falling asleep’ on air, before later admitting that he was working on his microphone pack

Eamonn Holmes’ future on TV has been revealed after he sparked concern by ‘falling asleep’ on air. The TV star was presenting his GB News breakfast show when he appeared to ‘fall asleep’.

He later insisted he had been examining faulty equipment. He said: “I was just looking down at my mic pack to see why it was not working, as we don’t have floor managers or camera operators. Apparently I was sleeping? Whatever!”

However, since that time, he has been off air, and is believed to be taking extended leave. Fans had become concerned on Twitter, wondering when he’d be back on the show given all that’s going on.

“There have been lots of whispers about Eamonn being off. It’s unlike him. He lives and breathes presenting on television,” a source told The Sun. However, he is expected back on air soon.

A GB News spokesman confirmed that Eamonn is due back on Monday, April 13. During his one man show, Eamonn opened up about how life has changed since he began using a wheelchair after a string of health setbacks.

“Experiencing the world differently as a wheelchair user, Eamonn wants to see better access for disabled people. He said: “If you are in a wheelchair you are either at the front of the cinema or the back,” he said.

“Why can’t you be in the middle? The thing that makes me laugh is rooms that are classed as accessible in hotels. They are not at all. Everything is wrong, the bathrooms and the showers. I would love to advise hotel people as they are no use to anybody.”

He also used his show to criticise TV standards, and said that TV budgets were affecting programme output. He explained: “It is a great pity. If you can’t justify the audience then it’s over. ITV will be the next one down the tubes. It will be sold to an American company and they will make it a streaming company.”

Eamonn has been in a wheelchair after suffering with chronic pain since 2021. He suffered a dislocated pelvis, which caused him to have three slipped discs. He fell down the stairs and broke his shoulder whilst recovering and underwent further operations in 2023.

“I’m sick. I’m in a wheelchair. That’s been horrendous to deal with for two years. Certainly I don’t think TV wants to know you when, I mean there’s nothing you and I are talking and no one can there’s anything wrong but I can’t get up,” he said.

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