“This has been a very difficult time for everybody associated with the Clippers, and for that, I have sincere regrets,” Ballmer said in the statement released 11 days after the NBA first sanctioned the owner and his team. “I want to apologize to our fans, employees, and my fellow NBA team owners for the distraction and distress this matter has caused, for which I accept responsibility as principal owner.”
The investigation found Leonard received $66 million in cash and equity from four companies facilitated by Ballmer and Clippers executives at the behest of Dennis Robertson, Leonard’s uncle and then-agent. Ballmer invested $60 million in Aspiration Partners, while Boingo Wireless, Daktronics and Lockton Insurance received $22 million from the Clippers in consulting fees.
The Clippers initially protested and vowed to use all means available to contest sanctions that included banning Ballmer from all league activities for a year, fining the team $30 million and taking away five first-round draft picks in the 2029, 2030, 2031, 2032 and 2033 drafts.
Leonard previously agreed to pay a $700,000 fine and did not contest the sanctions, removing the possibility of the case going to arbitration because the mechanism only exists for players and not teams.
“We are committing to put this chapter behind us,” Ballmer’s statement read. “We have communicated to the NBA that we are complying with the penalties assessed by the league, have paid the fine and are moving forward. While there are still disagreements concerning the findings in the report, this is not where I want to focus. Team owners should support, not distract.”
Two of Ballmer’s top executives were also sanctioned, altering the way the team will have to operate moving forward.
Clippers president of business operations Gillian Zucker was suspended without pay for one year for “being primarily and directly culpable for the impermissible endorsement arrangements and for providing false and misleading statements to investigators.”
Clippers president of basketball operations Lawrence Frank was suspended without pay for six months for “his involvement with the impermissible endorsement arrangements and for approving impermissible expenses incurred by Mr. Leonard and his family.”
Ballmer, however, has assembled a deep front office staff, giving the Clippers a number of options to offset the loss of those who are suspended.
“The challenges ahead of us are significant, but so is our resolve,” Ballmer wrote. “We will continue to build our team and invest in our community. The confidence of our fans is our priority. With our talented roster, outstanding staff and clear vision, I am certain that we will compete at the highest level and be an organization our fans can be proud of.”
The decision to comply with the sanctions rather than attempting to contest them in the court could help resolve one of the biggest outstanding offseason items the Clippers face.
Leonard’s trade to the Toronto Raptors in exchange for forward Brandon Ingram, shooting guard Gradey Dick, two first-round draft picks, a pick swap and two second-round picks was put on hold while both teams awaited investigation results.
With the NBA stripping the Clippers of five future first-round picks, the package they are expected to receive when the Leonard trade is completed would have a substantial impact on their future roster-building options.
LIV Golf and its related entities have filed for Chapter 11 bankruptcy protection four years after the league’s debut as a heavy-spending, player-friendly alternative to the PGA Tour.
Rather than signal the end of LIV, though, the move is designed to help the league move into the future without Saudi funding.
“We are excited about what lies ahead and yet, there is still much to accomplish in the months ahead,” CEO Scott O’Neil said in a statement released by the league on Tuesday. “We believe deeply in LIV Golf’s future, the opportunity in front of us, and the people who will help us realize it. We will not rest until we deliver on LIV Golf’s full potential.”
After launching in June 2022, LIV once paid nine-figure signing bonuses to lure away top players from the PGA Tour. Spending had reached an estimated $6 billion by the time the Public Investment Fund of Saudi Arabia decided to end its financial support in April.
On Tuesday, LIV said it has entered a restructuring support agreement with BC Partners Advisors and voluntarily entered a court-supervised restructuring process under Chapter 11 in the United States Bankruptcy Court for the District of New Jersey.
Last month, O’Neil announced a long-term plan that would have the golfers become the majority equity holders in the league. In a letter to fans on Tuesday, he said that this week’s moves are steps toward the league’s long-term goals.
“Now it is time to enter the next phase of LIV Golf,” O’Neil said. “Today, we took an important step forward to get there. LIV Golf has entered a court-supervised restructuring process that provides us with the time and framework to address previous financial obligations and complete a transaction that will make the League’s next phase a reality. Put simply, this process is designed to build a stronger and more sustainable future for LIV Golf.”
O’Neal said the new league model will expand the field for events from 57 to 75 players, introduce a 54-hole cut and create Monday qualifiers. It will “be built around a sustainable business model and deeper alignment between players and the League, with team golf at its core,” he wrote.
“Players will have the opportunity to share directly in the value they help create, while teams will be positioned to grow into enduring global sports businesses. And fans will remain at the center of everything we do.”
In its bankruptcy filing, LIV listed estimated assests of between $100 million and $500 million and liabilities of between $500 million and $1 billion. Players Jon Rahm, Bryson DeChambeau, Dustin Johnson and Cameron Smith were listed as the four leading creditors.
The league ended its season in August. Four vendors already have filed lawsuits because they have not been paid.
Stella Parton has released a public plea as the family continues to mourn her sister Dolly Parton’s death last month at the age of 80.
Late last week in an Instagram statement, Stella Parton thanked fans for the “genuine” support, urging them to use her sister’s life as an “example for tolerance and respect towards others.”
At the same time, she asked them to “show more compassion and wisdom.”
The 77-year-old singer-songwriter says the family has been subjected to “pressure” and “insensitivity” from strangers following the death of Dolly, who died on Aug. 25 after a private battle with cancer.
“There is a tremendous amount of [artificial intelligence] and endless garbage being posted everyday and it’s been challenging to absorb and or ignore,” Stella wrote in her Sept. 4 statement. “As time passes, those who are in the business of exploiting the loss and tragedies of others on a daily basis will move on to the next stampede of endless misinformation.”
While it is not clear what AI content Stella was referring to, AI-generated images of Dolly surged online following her death.
On Aug. 27, President Trump uploaded a fake image on Truth Social of the two walking around the White House . Another online user created an AI song that has amassed over 1.5 million views since its upload on Aug. 25. The song was falsely credited to pop singer Miley Cyrus, Dolly’s goddaughter..
“She loved her fans and the public in general. That is the reason she chose not to express her opinions on a lot of things like politics, religion and individuals in the public eye,” Stella wrote in the Instagram post. “She knew as well as anyone what a negative vortex that could turn into which is nothing but a huge waste of positive energy.”
Last year, Dolly critiqued AI content when clearing rumors surrounding her health, which swirled online after sister Freida Parton asked the public for prayers in a Facebook post on Oct. 7, 2025, in which she stated that the singer “hasn’t been feeling her best lately.”
“Did you see that AI picture of Reba and me? Oh lordy, I mean, they had Reba at my death bed and we both looked like we need to be buried,” Dolly said on Instagram on Oct. 8, 2025.
Toward the end of her Instagram statement, Stella said her plea is less about the “fake AI garbage” or “snarky tweets,” and more about encouraging the community to look within: “How will you feel about yourself? It’s not about what other individuals you will never meet think of you!”
Stella Parton is best known for her 1975 hit “I Want to Hold You in My Dreams Tonight” and a country and gospel discography that spans 21 studio albums. Also known for her acting in “The Dukes of Hazzard” and “The Best Little Whorehouse in Texas,” Stella made the distinction between her and her older sister clear at the end of her statement: “I’ve always embraced my own personality and will continue to be myself and express my opinions as I deem appropriate regardless of what anyone thinks of me.”
“Dolly loved the world and everyone in it,” Stella wrote on Aug. 27 on Instagram in her first statement after her sister’s death. “I would criticize and complain about it and she would laugh and say; ‘shoot Tedda, we’ve got more important things to do than worry about their silly a—.’ She was right, and she proved it every day.”
24 Hours in Police Custody fans have been left gutted as fan favourite Tom Hamm revealed he’s left the show.
Detective Sergeant Tom Hammhas announced he’s officially retired after more than 22 years of police service and seven years on the show.
Detective Sergeant Tom Hamm has quit the Channel 4 showCredit: channel 4Detective Sergeant Tom Hamm has been on the show intermittently for seven yearsCredit: Not known, clear with picture desk
He shared the news with his fans on social media this week, writing: “So tonight is likely to be my last appearance on #24hoursinpolicecustody.
“I hope that the episodes I have appeared in have somehow influenced people by showing the difficulties that police face when investigating crime. Thanks for the support.”
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Tom’s followers were devastated by the news.
One wrote: “Happy retirement Tom, I bet all the free time you get will be a breath of fresh air.”
Hamid was arrested but the four attackers have never been identifiedCredit: The Garden Productions
A second said: “Happy retirement Tom! Love the series, its great to see what goes on behind the scenes. Time to relax now.”
“The series won’t be the same without you working on the team. Well done to your team and everyone else who was involved,” this person posted.
The last episode featured a 17-year-old boy was left for dead under a railway bridge, suffering traumatic brain injuries.
Police originally thought he was a victim of a hit-and-run in Luton in June 2022.
They boy survived but had life-changing injuries.
Tom, who worked for Bedfordshire Police, said: “This case, for me was quite emotional because the victim was a twin and I have twin boys of similar ages to him and the parallel of how my children’s lives and the difficulties and circumstances of his life was something that played on my mind.”
“I could put myself in the position of his parents and how I would feel if I got that knock on the door from a police officer saying one of them had been hurt.
“This, by the grace of God, could be me.
“And I understand how it would affect the other twin.
“They do share a different bond than other siblings I think.
“Knowing how close mine are, if one of them is suddenly not there, it does affect them deeply.”
He had another reason to feel personally attached because of an enduring regret over the loss in quick succession of first his father and then his mother.
Tom’s personal feelings are evident in the two-part documentary,24 Hours in Police Custody, in which he and his team investigate the mystery of why a 17-year-old boy was left critically injured on the roadside after suffering catastrophic head injuries.
“Initially, we didn’t know who the victim was, and we were working hard to establish his identity,” says Tom, who has now retired from Luton CID after 22 years of service.
At first, it looked like a hit and run but as all the injuries were to his head, medics believed they were inconsistent with a car collision.
When the victim’s twin brother arrived at the police station, he told them that he believed his brother had come to Luton from London to meet a girl.
But then he learnt on social media that he had been involved in some sort of altercation,
With the victim lying in hospital in a life-threatening coma, Tom told his team their priority was to get his family by his bedside as soon as possible.
He discovered that the case was linked to a county line drugs trade, where drugs are moved between different part of the country.
Hamid was found guilty of conspiracy to cause grievous bodily harm and was sentenced to 10 years and nine months in jail.
Jasmine Aldrich was also charged with conspiracy to cause grievous bodily harm but was found not guilty.
George Lucas and Mellody Hobson want their massive spaceship of a museum to be an experience. Across 300,000 square feet and 11 acres of park space, there’s a lot to take in. Staring up at the 90-foot-diameter oculus four stories above the entrance plaza makes one feel like a speck in the galaxy.
Instead of trying to conquer everything on a first visit — there are more than 1,300 works — hit our highlights below. If you aim to walk around the striking building to view a mishmash of masterpieces, children’s illustrations, movie memorabilia that’s heavy on “Star Wars” and comic strips, you’ll have a good time. If you’re hoping to learn about what’s on display or how adjacent pieces relate, curb your enthusiasm. It’s almost as if the museum is making a statement: you don’t need some analysis to connect with the works. If you complain about the collection, the co-founders don’t care. “Is it fine art? It’s finer art because it’s actually telling a story,” Lucas said at a museum party last week.
The 90-foot-diameter oculus provides unique viewing from the fourth-floor gallery.
(Ariana Drehsler / For The Times)
The gee-whiz elevators at the entrance of the museum.
(Ariana Drehsler / For The Times)
Whoosh up in the glass-tube elevators to the massive fourth floor to begin. Best to explore the bulk of the galleries when your gas tank is full. Then head up a floor to see the murals. Take a break at the rooftop Skywalker Grill before ambling to the library and grounds. Skip the first floor’s “History of Narrative Art.” The exhibition is mostly screens, projections and reproductions, with a handful of great works from the 16th and 17th centuries and feels superficial at times. If you care about whether something is an original or a copy, check the gallery labels. Hungry for more detail? There’s a $30 exhibition catalog in the gift shop.
Prepare to get your steps in and feel a little turned around once it opens Sept. 22. Admission is $25 for adults, free for kids.
A few months after Mark Walter became the chairman and majority owner of the Dodgers, he was told a fan in one of Dodger Stadium’s upper decks was upset about a mix-up with his tickets.
On most days, that would be an issue for an usher to handle. Not on this day.
Walter and team president Stan Kasten decided to address the problem, climbing the narrow stairwell to the top level where they found the fan and listened to his complaint.
“Obviously the guy was floored just to see me, let alone to see Mark,” Kasten said. “Mark, he’s incredibly comfortable around people. Not just his peers, but average fans. Because he considers himself an average fan.”
The Dodgers’ billionaire owner, hardly an average fan, is under intense scrutiny these days, following the sale of his controlling interest in the Lakers and a federal investigation into his business dealings. The drama has come as a surprise to some who know Walter, who has earned respect for his financial acumen and, despite his purchases of high-profile sports teams, has tended to dodge publicity.
He put together the ownership group that bought the Dodgers in 2012. Since the purchase, the team has played in five World Series, winning three, and finished first in the National League West 12 times in 14 seasons. It’s the greatest sustained run of excellence in baseball in more than a generation.
Walter waves to the crowd during the Dodgers’ ring ceremony in March.
(Jessie Alcheh/MLB Photos via Getty Images)
If the Dodgers win a third straight World Series this fall, they will become the first team to three-peat this century. And much of the credit for that would go to Walter, who has funded a front office that consistently has outspent the rest of Major League Baseball, signing seven players to contracts worth more than $2 billion combined in the last six years alone.
Now Walter faces questions about his future owning the Dodgers. Last month, his companies became the focus of two federal inquiries and a Delaware insurance regulatory review.
He is helping pay off some of his companies’ loans and sold the Lakers at a record valuation of $12.5 billion, a deal Walter’s holding company, TWG Global, says was not forced by the inquiries. Still, the sale raised questions about whether he will sell his ownership stakes in other sports properties, including English soccer club Chelsea, the Cadillac Formula One racing team, the WNBA’s Sparks and the Professional Women’s Hockey League.
Walter declined to comment for this article.
Kasten insists Walter has no plans to divest from the Dodgers. “The sports portfolio is going to remain intact,” Kasten said. “It’s important to Mark. I can’t tell you how important the Dodgers are to him.”
Still, Kasten acknowledges the decision to sell the Lakers to former Disney chief executive Bob Iger and venture capitalist Joshua Kushner just 14 months after agreeing to buy the team “was not a planned thing,” either.
Walter hoists the World Series trophy next to MLB Commissioner Rob Manfred last November.
(Rob Tringali/MLB Photos via Getty Images)
Like most of the middle-class kids in the class of 1978 at Jefferson High in Cedar Rapids, Iowa, Walter worked in high school.
“He pumped gas and he played golf,” recalled Cathy Boland Polito, Walter’s date for the senior prom who is now a retired medical technologist living in Oro Valley, Ariz.
Walter hardly stood out in his graduating class of about 350 students. He was athletic but not a stud. He was a good student, especially in math, but not a nerd.
“He was friendly. He was nice,” Polito said. “Everybody sort of knew him.”
Walter talks with Dodgers president Stan Kasten during the playoffs last year. “I can’t tell you how important the Dodgers are to him,” Kasten says.
(Michael Reaves / Getty Images)
Walter went to Creighton University , where he studied accounting and business while playing intramural sports and participating in the philosophy society. Three years later, he earned a law degree from Northwestern.
Walter met his wife, Kimbra, in Chicago, where they raised their daughter, Samantha.
After a decade split between a Chicago law firm and First Chicago Capital Markets, a financial services and securities brokerage, Walter founded an investment firm, Liberty Hampshire Co., in 1996. While there he met J. Todd Morley, who connected him with the Guggenheim family fortune. The introduction quickly led to the formation of Guggenheim Partners, an investment and advisory financial services firm that works with insurance services, among other assets, and one that has a Wall Street reputation for being low-key but aggressive.
Before the COVID-19 pandemic closed Guggenheim’s offices, the lobby of the firm’s Chicago headquarters on the 49th floor of the AT&T Center boasted one of Monet’s “Water Lilies” paintings, which hung behind the receptionist’s desk inside a glass case with an alarm. A Picasso brightened another office upstairs.
Walter with Guggenheim Baseball Management partners Peter Guber, left, Stan Kasten and Magic Johnson at Dodger Stadium in 2012 after the group bought the Dodgers for $2 billion.
(Damian Dovarganes / Associated Press)
A company insider not authorized to speak publicly told The Times in 2012 that Walter was a disciplined, focused and careful investor.
“He is a guy with one of the great financial minds of our time,” the person said.
For Walter, 66, who grew up playing youth baseball about 50 miles from the Iowa cornfield that became Kevin Costner’s “Field of Dreams,” that financial success was all well and good. But the longtime Chicago Cubs season-ticket holder really was a die-hard baseball fan whose dream was to own a sports franchise.
Walter first explored a purchase of the Houston Astros, who eventually were sold to Houston businessman Jim Crane for $615 million ahead of the 2012 season. So Walter pivoted and formed Guggenheim Baseball Management, a group that included Kasten, Lakers Hall of Famer Magic Johnson, movie producer Peter Guber and investors Bobby Patton and Todd Boehly, to buy the Dodgers for $2.15 billion, a record at the time, in March 2012. Part of the money Walter invested in the deal came from the insurers he controlled, although that deal was vetted by state insurance regulators.
MLB engineered the sale of the Dodgers after previous owner Frank McCourt filed for bankruptcy.
“The market drove the price,” Walter told The Times after the sale closed, calling the investment “a multigenerational thing my daughter’s granddaughters will own.” Walter’s daughter, who grew up joining family trips to Los Angeles for Dodgers games, is a marketing manager at TWG Global.
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1.WASHINGTON, DC – JULY 02: U.S. President Joe Biden (C) holds the jersey given to him by Los Angeles Dodgers Chairman Mark Walter during an event with the 2020 World Series champions in the East Room of the White House on July 02, 2021 in Washington, DC. The Dodgers defeated the Tampa Bay Rays to win the championship series at the end of an abbreviated season due to the coronavirus. (Photo by Chip Somodevilla/Getty Images)(Chip Somodevilla / Getty Images)2.WASHINGTON, DC – APRIL 07: (L-R) Los Angeles Dodgers pitcher Clayton Kershaw, U.S. President Donald Trump, and Los Angeles Dodgers Owner and Chairman Mark Walter pose with a jersey presented to Trump as he hosts the 2024 World Series champions in the East Room of the White House on April 07, 2025 in Washington, DC. The Los Angeles Dodgers defeated the New York Yankees with a 7-6 victory in Game 5. (Photo by Kevin Dietsch/Getty Images)(Kevin Dietsch / Getty Images)
Today, the team is the most lucrative in the sport and is on pace to become just the second this century to draw more than 4 million fans in consecutive seasons. The Dodgers could be sold for a valuation of $10 billion to $13 billion — at the higher end, three times as much as the record sale price for a major league team — an industry source told The Times on the condition of anonymity.
Through it all, Walter mostly has shunned attention. The exception is participating in on-field championship celebrations and joining the team for trips to the White House during the Trump and Biden administrations.
His smooth run was interrupted during the Dodgers’ run to the 2024 World Series when Walter suffered a stroke that kept him from the victory celebration. His recovery reportedly was arduous; Walter struggled to speak clearly for months and didn’t return to public view until the Dodgers’ season-opening series in Japan the following spring.
Walter didn’t publicly step down from any roles after the stroke, holding on to control of a vast portfolio. Since buying the Dodgers, he has invested in European soccer, women’s hockey and basketball, squash and auto racing. He also bought several historic buildings in the resort town of Crested Butte, Colo., where he and his philanthropist wife own a home. In 2013, the couple purchased the Wild Oak Plantation, a 17,000-acre wildlife preserve in northeast Florida, where the Walters now spend most of their time.
Kimbra has served on the boards of Chicago’s Lincoln Park Zoo, OneGoal nonprofit and Goodman Theatre and is active in the family’s charitable organization, TWF Causes, which focuses on social impact and conservation work, including owning or supporting several major conservation and private reserve properties in Africa.
The family has a limited political footprint, with Walter donating to the Democratic National Committee and the campaigns of then-presidential candidate Barack Obama and then-Chicago mayoral candidate Rahm Emanuel. The majority of their donations, however, run through their family foundation and the Dodgers Foundation.
“For us, my wife and I, and all of my partners believe that corporations have to be corporate citizens, and individuals who benefit from them, or who have built them, need to give back,” Walter told ESPN soon after buying the Dodgers. “You can’t take it with you, and you ought to do something philanthropic with it.”
But while he’s put money into charitable projects, he’s invested his heart and soul in the Dodgers, Kasten said.
“He cares deeply about it,” the Dodgers president said. “He’s living through every play, every out, every at-bat.”
However much longer Walter remains invested in the Dodgers — financially, at least — could come down to math.
Justice Department prosecutors, the Securities and Exchange Commission and a Delaware insurance regulator are investigating whether Walter funneled as much as $21 billion from the portfolios of two insurance companies he owns into private credit for loans to other companies he also controls while reporting just a fraction of the loans’ value. The Wall Street Journal and the Athletic reported Walter used billions of dollars of those insurance premiums to buy sports teams.
Such “related party transactions” are legal, within limits, but are required to be reported to guard against conflicts of interest and to protect clients.
In Walter’s case, the related-party loans f initially were reported at between $1 billion and $1.4 billion when the true total actually was between $16 billion and $21 billion. The reclassification meant the affiliated investments jumped from 2% of one insurer’s portfolio to about 40%, according to Fitch Ratings.
No formal charges have been filed, and TWG Global, the multinational holding company led by Walter, is cooperating in the investigation. Walter has declined to be interviewed or to respond to written questions about the investigation, but his representatives have strongly denied any improper behavior, describing reports of the probe as “substantial speculation and misinformation” advanced by “unnamed sources and self-serving interests.”
“It does not inspire confidence to know that this kind of wild understatement happened,” said Andrew Granato, a law professor at the University of Texas at Austin who specializes in corporate finance and insurance. “It also doesn’t inspire very much confidence in the system of insurance regulation we have, that there could be this big of a mess that was not caught for years.”
Walter hired veteran Goldman Sachs lawyer David Markowitz to be his chief legal officer and reportedly is exploring the sale of his 12.8% stake in the Chelsea soccer club to Clearlake Capital, a Santa Monica-based private-equity firm whose Puerto Rican-born co-founder, José E. Feliciano, recently bought the San Diego Padres.
A source close to Walter not authorized to discuss it publicly told The Times he has an interest in selling Chelsea if the terms are right but insisted there is no desire to sell the Sparks, the PWHL, his investment in professional squash or, more prominently, his stake in the Dodgers.
While Kasten and TWG Global officials insist the Dodgers aren’t for sale, uncertainty likely will linger at least until all investigations are completed.
Times staff writer Mirjam Swanson contributed to this report.
Texts lit up my phone this morning from friends who had wasted most of their lives rooting for the Angels: Arte Moreno finally was selling the team.
“First order of business: it’s the Anacrime Angels,” Nelson Rodriguez cracked before sending a meme of Stringer Bell in “The Wire” wearing an old-school California Angels cap and saying, “I want you to put the word out there that we back up.”
“This news honestly made my year,” texted Anaheim City Councilmember Natalie Rubalcava, who graduated a year ahead of me from Anaheim High and whose daughter works at my wife’s restaurant. “Excited to leave the controversy and negativity behind and look forward to a new era of Anaheim baseball.”
“Shame this didn’t happen when [Shohei] Ohtani was an Angel,” the Mountain shared on a group text thread of childhood friends who call each other by long-standing nicknames — I’m the Consigliere.
“I get invited to the games but hell no,” replied the Butcher, who’s been a fan since the days of Hall of Famer Nolan Ryan in the 1970s.
“I’ll finally go back” to a game in person, my cousin Plas added. “A Trumper [Latino] what could’ve gone wrong …” he wrote, referencing Moreno, before asking if Kurt Suzuki was still manager because “that’s how little I’ve kept up with the team.”
Those are the texts I can print in a family newspaper.
Moreno is selling to Los Angeles Rams owner Stan Kroenke, whose company also owns perennial contenders in the NBA (Denver Nuggets), NHL (Colorado Avalanche) and England’s Premier League (Arsenal). Sources told my colleagues that the price was $4 billion, which would be a baseball record and speaks to the Halos’ untapped potential.
Major League Baseball still needs to approve the deal, but I guarantee that Commissioner Rob Manfred and the 29 other team owners are reacting with the silly swaying dance that Dodgers players do every time they get on base.
“The Moreno Family has been honored to steward the Angels for 23 years,” the soon-to-be-ex-Angels owner said in a statement.
You stewarded nada, Arte: You destroyed.
You started with so much hope and ended up with fans like my friends shooting venom at you like pissed-off cobras. There’s a reason why you’ll leave as one of the most loathed owners in baseball history. Your underperforming reign makes the McCourts of Dodgers infamy seem as amazing and beloved as the O’Malleys.
Not even Shohei Ohtani, at spring training when he played for the Angels in 2023, could change the team’s fortunes under Moreno.
(Morry Gash/Associated Press)
The Tucson native, who made his billions in the billboard industry, bought the Angels from Disney in 2003, the year after they won their sole World Series championship. At a festive press conference, Moreno handed a sombrero to then-skipper Mike Scioscia to wear, then announced that the first order of business was to cut beer prices.
The new owner quickly signed the best players in baseball — slugger Vladimir Guerrero and pitcher Bartolo Colón. Moreno walked Angel Stadium during games to ask fans what they wanted, what they needed, what they dreamed of. That first decade, he made the Angels what they never had been for a prolonged period: winners.
Fans packed the stands — more than 3 million each year from 2003 to 2019, the third-longest streak in baseball. Anaheimers donned Halos jerseys and hats like never before. More incredibly, Moreno was at the cusp of the impossible: convincing a generation of Latino baseball fans in Orange County to side with the Halos instead of the Dodgers.
But there were always signs that something was off.
Moreno renamed the team the Los Angeles Angels two years after he bought them, a ridiculous moniker that made them a national punchline. The renaming also cost Anaheim millions of dollars in legal fees after the city unsuccessfully sued to force Moreno to keep my hometown in the team’s name.
Moreno openly talked about moving the Angels to a city that would build him a new stadium. He also fell into the terrible habit of signing conservative-leaning, past-their-prime ballplayers like Josh Hamilton, Albert Pujols and Anthony Rendon to massive contracts that weighed down the team for years, like one of Angel Stadium’s legendary cinnamon rolls.
Die-hards like my pals trudged on, buoyed by generational talent Mike Trout and the occasional flash-in-the-pan prospect. But even they were turned off by the last three years.
That same year, the Halos let Ohtani — who was on his way to a second most valuable player award and already had established himself as one of the most talented baseball players ever — walk away as a free agent while gaining nothing in return.
This season kicked off with Moreno telling the Orange County Register about a survey supposedly revealing that winning wasn’t “a top priority” for Angels fans. The Angels hadn’t made the playoffs in 11 years, hadn’t finished with a winning record since 2015, had landed in last place in their division for the last two years — and that’s what he offered as a speck of hope? No wonder the team is on pace to lose 100 games for the first time in franchise history. No wonder disgusted fans have protested both inside and outside Angel Stadium all summer.
At the only game I went to this year — a sparsely attended afternoon snoozer against the Chicago White Sox — I found the stadium more beat-up than ever: peeling paint, beat-up seats, tinny PA system. For about $25 each, my friends and I bought tickets behind the first-base dugout that would have cost hundreds of dollars at Dodger Stadium.
Billboards along Southern California freeways have broadcast the Angels’ desperate attempts to draw in fans via pathetic promotions. Fireworks every Saturday. A bobblehead giveaway of light-hitting shortstop Zach Neto, who never has made an All-Star team. A “yard sale” that sounds like a giant casting off of crappy memorabilia a week away from the trash can.
Angels fans wave signs and urge owner Arte Moreno to sell the team to an ownership group willing to invest more in winning during a pregame protest at Angel Stadium.
(Joaquin Ruiz / For The Times)
I never cared for the Angels, but I always wanted them to do well. Any success they achieved rubbed off on my hometown, as it did during that magical 2002 run.
I also wanted Moreno, the first Latino to own a major professional sports team, to succeed, so his fellow Trump supporters might know that our kind can excel at the highest echelons of American society, if only we get the chance.
But for the last few years, I cheered each time the Angels lost. I wanted them to tank, to forever seal Moreno’s legacy as a loser. To serve as a warning to all professional sports owners that they can abuse a host city and its fan base for only so long before people revolt by just not caring.
Good luck to Kroenke as he tries to resuscitate a franchise deader than a stump in the Petrified Forest.
Daisy Chain Fields arrived on a sweltering summer Saturday, plopped in the middle of Irvine’s suede hills, inside Orange County lines. The festival, hosted by Olivia Rodrigo at the Great Park, was a spiritual successor to Sarah McLachlan’s Lilith Fair of the late ‘90s, born out of frustration with promoters and radio stations that refused to play two female artists in a row.
Like McLachlan’s event, Daisy Chain Fields boasted an all-female lineup, featuring some of the most coveted names in the contemporary music scene. The festival also gave a nod to some of the industry’s women pioneers, such as Bikini Kill and Garbage.
Anticipation for the festival was high after Rodrigo unveiled it in late June, with tickets selling out just 30 minutes after release. This translated directly onto the grounds, which were swarmed by 45,000 attendees, comprising teenage girls, moms, dads and everyone in between.
The event raised $10 million to benefit 10 girl- and women-focused nonprofit organizations, all of which made an appearance on stage before each artist’s set. Each musician on the lineup performed for free.
Festivalgoers walk past the Great Park Balloon.
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1.Festival goers pose for pictures in front of a daisy backdrop.2.Nara Brown from Costa Mesa ties together a flower headpiece.
As the sun went down and Rodrigo took the stage, she announced that proceeds had been 100% matched by billionaire and philanthropist Melinda French Gates, bringing total donations to $20 million.
The Times was on site to witness the festival in all its glory, amid astounding 94 degree heat and an unwavering, tangible electricity among fans. Here is our recap of the best moments from the festival. —Julius Miller
Livies get loud on the Metrolink The 2 p.m. Metrolink train from Union Station in L.A. to Orange County was absolutely mobbed with Livies (a.k.a. Olivia Rodrigo fans) on Saturday. For such a car-brained region, it was sweet to see public transit packed with young fans in festival regalia, making the grind to Irvine more sane and green. Let’s have this vibe for every major SoCal festival (including the car-free Ocean Way next month). Yet, for new train fans, a gentle reminder: one spirited round of singing “Get Him Back!” as you’re climbing onboard? Endearing, a delight for all. Keeping it up for an hour, next to civilian commuters who looked ready to climb onto the tracks themselves by Buena Park? Maybe save that for the pit. —August Brown
Festivalgoers sing as Olivia Rodrigo performs during Daisy Chain Fields.
Devon Again performs during Daisy Chain Fields.
Devon Again felt so lucky that she gets to know you
25-year-old alt-pop princess Devon Again was a last-minute addition to the Daisy Chain Fields bill, replacing global girl group Katseye, who pulled out of the festival on Thursday due to a member’s ankle injury. Luckily, Devon Again, a personal friend of Rodrigo who will open for her tour starting in November, was there to answer Rodrigo’s call with a resounding “Duh, b—! Obviously I want to do it!” as she relayed to the Saturday afternoon crowd. Though Katseye’s presence was felt — members Lara Raj, Megan Skiendiel and Yoonchae Jeong took the stage to introduce nonprofit partner Baby2Baby before the set, and Devon Again’s drummer wore a Katseye shirt in tribute — Devon Again’s self-confessed impostor syndrome was misplaced. With a rollicking mix of high-energy country twang, twisty ballads and production-heavy pop hits bolstered by her crisp belt, she made the stage her own. —Eloise Rollins-Fife
Die Spitz dives into a great early set
The set began with a five-minute delay due to technical issues, during which bassist Kate Halter — impressively — performed several handstands to pass the time. By 1:45 p.m., the band was ready to go, with frontwoman Ellie Livingston kicking off the performance. Draped in a torn white skirt and black fishnet gloves to complement, she wailed “I hate when girls die.”
Die Spitz’s set felt like the epitome of what Daisy Chain was all about. The band members took turns strutting around stage and acknowledging, “I know it’s f— hot!” But that didn’t stop the crowd from forming mosh pits on the left and right side of the yellow Marigold stage. At one point, Livingston even jumped in herself, to the despair of security and the delight of fans. —JM
Eleanor “Ellie” Livingston of Die Spitz performs during Daisy Chain Fields.
Santigold’s set was worth fighting for
Santigold’s eclectic, genre-defying sound may be a hallmark of the “indie sleaze” era, but her standout midday Daisy Chain set proved she has plenty of staying power in 2026. Dressed in all white and flanked by a pair of straight-faced dancers in futuristic sunglasses, the 49-year-old artist performed back-to-back hits like “Run the Road” and “L.E.S. Artistes” to a crowd ready to dance the pain away. She even brought a handful of fans onstage — mostly, adorably, children — for a follow-along dance contest during “Unstoppable,” with a winner determined by cheers. Wrapping up the set with “Disparate Youth,” Santigold reminded the audience to keep believing in “a life worth fighting for.” –ERF
Santigold transports the crowd to the early aughts era of indie sleaze during Daisy Chain Fields.
Bikini Kill double dares Daisy Chain crowd to keep fighting the power
“This government hates us and wants us dead,” proclaimed punk icon and Bikini Kill frontwoman Kathleen Hanna: a critical guiding light for Olivia Rodrigo’s feminist consciousness, as well as that of thousands of Daisy Chain attendees on Saturday. Since the band’s inception in 1990, the OG riot grrrls of Bikini Kill made social justice the centripetal force of their furor — long before Daisy Chain Fields, and even its late ‘90s predecessor Lilith Fair. Powered by Tobi Vail on drums (and occasional vocals), Kathy Wilcox on bass and Sara Landeau on guitar, the electric Hanna buffered classic songs like “Double Dare Ya” and “Feels Blind” with parables from her own revolutionary life — much of which she spent fighting back against objectification from men. Dudes in Saturday’s crowd got a special directive: “You guys gotta talk to your friends [about misogyny],” said Hanna. “[Women] are not gonna stop this on our own!” Sealed with a kiss and delivered with a snarl, the band closed its rip-roaring set with the anthemic battle cry of “Rebel Girl,” and were flanked onstage by a few lucky young fans. —Suzy Exposito
Bikini Kill’s Kathleen Hanna preaches a message of anti-misogyny to the crowd during Daisy Chain Fields.
Mitski brought melodrama and musical magic
Whether you’ve been rocking with Mitski since the “Lush” days or discovered her music via pandemic-era Tik Tok, when industrial ballads like “Washing Machine Heart” unexpectedly popped off, there’s no denying her captivating stage presence — not to mention her stunning vocals. Longtime fans may have wished for a few more of the hits (no “Your Best American Girl” after the recent “Puberty 2” 10th anniversary re-release was a surprise), but indie music’s favorite sad-woman still brought her A-game to the Dandelion Stage, incorporating her signature “Butoh” performance style — a form of avant-garde Japanese dance-theatre — underscored by a backdrop of 1940s melodramas. During her set she implored Rodrigo to make the festival an annual tradition. “When do you get to be the first anything anymore?” she said. “For the rest of our lives, we could be like, ‘I’m OG DCF.” – ERF
Mitski performs during Daisy Chain Fields.
The Breeders deliver ‘Last Splash’ classics
Hand it to Kim Deal: As one of the OGs on the bill at Daisy Chain Fields, the Breeders frontwoman used her band’s performance to shout out an even earlier pathbreaker by wearing an old Shirley Chisholm campaign T-shirt featuring the first Black congresswoman’s slogan of “Unbought and unbossed.” Deal and her bandmates (including her twin sister Kelley) drew deeply from their classic 1993 “Last Splash” LP, loping through the country-ish “Drivin’ on 9,” chugging on a fuzzed-out “Saints” and pricking up Gen Z ears with the perennially TikTok’d “Cannonball.” — Mikael Wood
The Breeders play songs from their 1993 classic album “Last Splash” during Daisy Chain Fields.
Doechii does it for the girls
Under the hot afternoon sun, Grammy award-winning rapper Doechii celebrated all things girls in her typical over-the-top fashion. She and her dancers arrived onstage painted in hot pink, the swamp princess’ hair fashioned into high pigtails. A dance breakdown to a hardcore take on Beyoncé’s “Run the World (Girls)” introduced the set, and though she fed fans by performing some of her most popular singles — a version of “Anxiety” that morphed into a cover of the original sample “Somebody I Used to Know” by Goyte, “Alter Ego” and tracks like “Nissan Altima” and “Boiled Peanuts” from her 2024 album “Alligator Bites Never Heal” — she also reminded festivalgoers of the influential Black women artists who came before her — Lauryn Hill, Queen Latifah, Beyoncé — by mixing their iconic songs into hers. Glowing magenta, she twirled above what looked to be a rising river, a physical representation of the swirling, engulfing thoughts that anxiety can provoke as she performed the song by the same name. And just to ensure there was zero confusion, the Florida rapper ended her set by simply stating: “We do this for the girls, we do this for the gays and we do this for trans women.” —Danielle Dorsey
Doechii performs during Daisy Chain Fields.
Doechii
Garbage gives grunge power to Gen Z
With its blend of serrated alt-rock guitars and sleek machine rhythms, Garbage always sounded a little ahead of its time when the band broke out in the post-grunge mid-’90s. But as frontwoman Shirley Manson evoked an age of digital surveillance and pharmacological dependence in “I Think I’m Paranoid” — one of the era’s great snarling pop singles — what you realized is that history had finally caught up with the band. — MW
Shirley Manson, lead singer of Garbage, performs during Daisy Chain Fields.
Chappell Roan reigns with a hit-heavy set
It’s funny to think that Chappell Roan has only really been in the American music scene for the past six years, with just one studio album to her name.
Roan appeared from the back of stage, revealing her leather, periwinkle stewardess outfit and red mod bob — an apparent nod to Luc Besson’s 1997 film “The Fifth Element.” Naturally, the crowd roared as she dove bob-first into “Super Graphic Ultra Modern Girl.” She’d occasionally crouch down to take a sip from her water bottle, which matched her ensemble.
Roan looked especially happy to be there, happily performing for free and her set did not disappoint.
“Only the hits today,” she said, smiling. “Only the hits.” —JM
Festivalgoers dance in the “MicroRave.”
Not for Radio crank up the volume
Just after sundown, the Marías’ enigmatic leading lady, María Zardoya, emerged to perform songs from her nocturne solo project, Not for Radio. Circled by a verdant reproduction of an enchanted forest, and dressed in a black swan-like two-piece by Ann Demeulemeester, Zardoya held the audience captive with her purring soprano and vampy stare. But make no mistake: by dialing up their otherwise elegant chamber pop with a little extra crunch and distortion, the players of Not for Radio came ready to rock out with the Daisy Chain crowd. It was during a performance of the new track “Comet,” which has only been recorded live thus far, that Zardoya bewitched fans into head-banging along with her. —SE
Olivia Rodrigo does duets with her idols
Sarah McLachlan, left, and Olivia Rodrigo perform during Daisy Chain Fields.
Rodrigo’s enduring virtue as a pop star is being a great fan first. The job requires commanding attention and devotion for yourself, but she’s never been shy about situating herself in the long arc of women who came before (and after) her, or just being moon-eyed to live inside her favorite songs with her heroes onstage. For her Daisy Chain Fields closing set, she dueted with generations of women that shaped her sense of what’s possible in music — Stevie Nicks for a gorgeous “Landslide,” and a surprise Alanis Morissette cameo for “Ironic” that felt like girl-gang karaoke night at its finest. She joined Lilith Fair founder Sarah McLachlan — a specific inspiration for this festival — for “Building a Mystery” and a deeply tender “Angel.” Even Rodrigo’s backing band, full of absolutely shredding women instrumentalists, played beside her on equal footing for exquisitely tasteful, post-punky revisions of songs across her three albums. The boys in the crowd got a brief chance to growl in the lead on “Expectations,” but here they were just allies — the headline act was Rodrigo’s talent framed as a gift received from other women, and given again to the young fans on the field. —AB
Gladys Knight has announced she’s gearing up to embrace the next phase of her life and career at 82.
The announcement comes after recent performances raised alarm with fans and staff worried about the storied singer’s health.
“After much soul searching I’ve decided that I will be easing into fewer performances while focusing on transitioning into the next stage of my career and life moving forward,” Knight said via Instagram on Thursday.
Knight said she’ll be spending more time on projects with her husband and manager; William McDowell, 68; and visiting with her grandchildren.
“I’d like to take a moment, in advance, to thank all my fans over this last three quarters of a century for making a little girl’s dream come true and supporting her every step of the way,” she continued. “I am immensely grateful to all of you and send my eternal love back to you. … I hope to see your smiling faces out and about and on the road.”
Her publicity team declined further comment Friday.
During her Aug. 18 show in Detroit, Knight took several breaks. And back in July at the Hollywood Bowl, the Grammy-winner seemed to lose her place while belting, “Midnight Train to Georgia,” one of her signature songs.
Backup singers appeared to come to the rescue more than once, guiding the singer back toward the stage as she wandered off and filling in when the lyrics to her classic soul hits seemed to escape her.
In an interview with the Shade Room last year, Knight’s son, Shanga Hankerson, claimed McDowell pushed the singer into performing and manipulates her.
Hankerson said that he drove to North Carolina to see his mom and was kept from being alone with her. He subsequently filed a complaint with the state Department of Health and Human Services.
“I noticed that William would always chime in, make sure that I didn’t get to speak with her by myself or by herself,” he said.
During a performance, Hankerson said he was concerned watching as his mom, who’s been performing for 75 years, fumbled through the set.
“The band played two or three extra bars, and she zoned out. The background singer started singing, and that brought her back. They’re having to rewind the teleprompters because my mom is forgetting to even look at them,” he said.
The Channel 4 star was faced with an agonising decision after being offered a huge amount of money to work with a weight-loss brand.
She was left torn between a potentially life-changing sum of money and staying true to the values she has built her public image around.
The emotional dilemma unfolded during the final episode of her reality series Secret Lives of Gypsy Wives as Trewley was approached with the opportunity to work with a major weight-loss company associated with injectable weight-loss treatments.
However, despite the huge financial incentive, Trewley admitted she was uncomfortable with the idea of promoting something she did not personally believe in.
Her manager Andrea explained that the company was a “big brand” which was already working with well-known celebrity names and said the proposed partnership could involve a “transformation process” for anyone considering weight-loss injections.
“There is potentially a lot of money involved in this kind of partnership,” her manager told her. Trewley immediately questioned whether the deal fitted with the image she had created for herself.
“First of all, I just don’t think it’d fit my brand. That’s not who I am,” she said. “If I lose weight, I’ll go to the gym. I wouldn’t get on there for my other drugs, so why would I feel like that? You’re talking about payment, what’s the payment?”
The answer left her stunned. Her manager revealed that the deal could be worth six figures over the course of a year. “What the f***? That’s real?” Trewley exclaimed. Her manager confirmed that it was.
But even with the staggering figure on the table, Trewley knew accepting the deal could come at a cost. “I can’t sell my soul out,” she said.
Her manager reminded her that she was trying to build a long-term career and that she needed to think carefully about the brands she associated herself with.
“I think in this industry, you have to be so mindful of who your audience is,” her manager told her. “And your audience are young women.”
For Trewley, however, the decision was not simply about money. She admitted that part of her was thinking about what the money could do for her family, particularly her mum. “There’s part of me, family wise, that’s like, I can support, I can provide,” she explained.
But she also knew that accepting the deal could mean compromising the message she had been putting out to her followers.
Speaking directly to the camera, Trewley admitted she felt trapped whichever decision she made. “If I take it, I always represent these curvy women and this and that, so it’s just going against what I stand for,” she said. “But then I also have… I’ve got to think about my mum and my family. I’ve got to provide.”
She added: “It’s just disheartening. I feel stupid either way. I feel stupid if I take it, and I feel stupid if I don’t.”
Unable to make the decision alone, Trewley decided to call her mum, Tina, for advice. She explained that she had been offered a controversial brand deal and revealed just how much money was involved. But Tina’s response was immediate. She told her daughter not to take it.
Even when Trewley explained that the deal was worth a huge amount of money, her mum remained firm. Tina questioned whether any amount of money was worth putting her health at risk.
The conversation became an emotional moment for Trewley, who broke down as she considered what turning down the opportunity could mean. The money could have changed their lives. But ultimately, her mum’s advice helped Trewley make her decision.
Trewley revealed that she would turn down the deal, making it clear that no amount of money was going to make her compromise her beliefs.
“My goal in life is to provide for my family and earn money off what I’m doing,” she explained. “But I’m not compromising. I’m not being bought for something I don’t believe in. I don’t care how much it is, I’m not doing it.”
The decision comes as Trewley continues to navigate life in the public eye. Her growing presence on social media and the way she presents herself has not always been welcomed by everyone within the Traveller community, with Trewley facing backlash over her move into the world of influencing and television.
For Trewley, that criticism has highlighted a much bigger question about her future. She has grown up with a traditional Traveller lifestyle, but is now building a public career that brings opportunities far beyond the life she knew growing up.
You can stream Secret Lives of Gypsy Wives on Channel 4
Under the hot lights of the Crypto.com Arena in Los Angeles, the five members of Santos Bravos stood center stage, ready to stake their claim to international stardom. It was the first night of KCON — a three-day festival of Korean pop culture, held every year since 2013 — and on Aug. 14, Santos Bravos became the first Latin American act ever to grace the bill.
Despite the band having debuted less than a year ago, the crowd was buzzing with excitement, but its energy heightened as the slashing knife sounds of “Hooligan,” a song off BTS’ latest hit album, “Arirang,” began to ring out. Because of their popularity, BTS songs are frequently covered by groups at KCON, but newcomers Santos Bravos, who are under the same parent label, Hybe, had more to prove to this audience.
Santos Bravos, a Latin American boy band based in Mexico City, performs on the Artist Stage on Aug. 14 at KCON at the Los Angeles Convention Center.
(Arwen Clemans / Los Angeles Times)
“Hooligan” was produced by Spanish producers Fakeguido and El Guincho (who worked on two records with Rosalía), as well as South Korean producer Ghstloop and American producer Jasper Harris. The multicultural song, with lyrics in both Korean and English, was an apt choice for Santos Bravos — between the five members, they speak and sing in three languages and represent several Latin cultures.
For BTS fans, nothing less than near the performance level of the superstar group is acceptable. But as Santos Bravos sang the opening verses in English, the crowd roared with approval — especially as lead vocalist Kauê Penna, who hails from Brazil, slid onstage to take on the high parts of BTS lead Jungkook.
While artists from different backgrounds working together is nothing new, Santos Bravos, like the Hybe x Geffen girl group Katseye, are part of an effort to bring K-pop training, marketing methods and fandom culture to other regions of the globe.
Fans watch as members of Santos Bravos walk off the stage and into the crowd during a performance on Day One of KCON.
(Arwen Clemans / Los Angeles Times)
Off the global success of BTS, Hybe evolved from a mid-sized label into one of the biggest music and entertainment players in South Korea. Santos Bravos operates under a division called Hybe Latin America, which is based out of Mexico City, where the band calls home. They are the first Hybe group to be based in a region outside of the United States or Asia.
Selected from 17 finalists on a 2025 competition reality show called “Santos Bravos — La Serie,” the contestants had vied to become part of Santos Bravos. Along the way, they received feedback and coaching from Song Sun-deuk, BTS’s longtime former choreographer and performance director. They also worked closely with Miami-based Cuban American choreographer Cultura, who has previously worked with Maluma, J Balvin, and Karol G, among others.
The final five debuted as a group at the show’s finale in October of 2025, where they performed before an audience of 10,000 at the Auditorio Nacional Mexico. Santos Bravos’ members are Penna, 19, from São João de Meriti, Brazil; Kenneth Lavíll,16, from Veracruz, Mexico; Gabi Bermúdez, 21, from San Juan, Puerto Rico; Alejandro Aramburú, 22, of Lima, and Drew Venegas, 26, from L.A. County.
The selected members were no starry-eyed amateurs: Both Lavíll and Aramburú were professional actors in their countries, while the honey-voiced Penna won the fifth season of “The Voice Kids, Brasil” in 2020. Bermúdez, the effusive mood-lifter of the group, was gunning for a career as a soloist when he entered the ring. Venegas, a dance specialist who had performed as a backup dancer for BTS, had a brief stint as a member of the Future X, a co-ed group formed by Simon Fuller that featured members of the queer community.
Not even a year into their formation, Santos Bravos topped Billboard’s new Latin music poll. In January, they performed alongside Mon Laferte and Feid in Willy Chavarria’s Paris Runway show, “Eterno.” In June, their debut EP, “Dual,” made it as high as No. 17 on the Billboard Top Latin Pop Albums chart. That same month, the group won its first award, the fan-voted artist duo or group at the 2026 Premios Tu Música Urbano Mix.
“We’re very disciplined,” said Venegas, who called West Covina home before joining the band. I met the band inside the Los Angeles Convention Center on Saturday, after their KCON breakout moment.
“One day of training was equivalent to one week of training,” he added. “I think combining all of our cultures together, then keeping our Latin essence with the K-pop methodology, [brings] something very new and very fresh for the eye.”
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Santa Monica , CA – August 17: Drew Venegas of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times) (Ronaldo Bolanos/Los Angeles Times)
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Santa Monica , CA – August 17: Kaue Penna of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times) (Ronaldo Bolanos/Los Angeles Times)
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Santa Monica , CA – August 17: Ale Aramburu of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times) (Ronaldo Bolanos/Los Angeles Times)
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Santa Monica , CA – August 17: Kenneth Lavill of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times) (Ronaldo Bolanos/Los Angeles Times)
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Santa Monica , CA – August 17: Gabi Lopez of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times) (Ronaldo Bolanos/Los Angeles Times)
Although the group doesn’t perform in Korean — unless it’s for fun — they cater to K-pop fans, which is easy to do since they too are K-pop fans. They’ve paid a visit to the Hybe headquarters in Seoul, collaborated with bands like Le Sserafim and BoyNextDoor and livestreamed to fans via Hybe’s proprietary social platform Weverse. They’ve even performed on Korean television.
But for the members of Santos Bravos, the cultural exchange goes beyond marketing.
“In Mexico,” Venegas said, “when you’re eating we say, ‘Buen provecho,’ which is like ‘Enjoy your food,’ No matter who it is, no matter who you’re walking by. Food is a big part of acknowledging somebody, and that’s what we have in [common with Korean culture].”
Mostly talking to each other in Spanish — both Venegas and Penna learned to speak it as a second language — they occasionally forget which language they are speaking to each other in.
“Sometimes I find myself talking to Kenneth or Kauê in English when I don’t need to,” interjected the soft-spoken Aramburú, who plays the guitar — and, in between his shifts as a pop star, is finishing up his music degree at USC.
“The fact that we learn so many languages opens so many doors for us,” Aramburú said. “Personally, wherever we go, I love to learn the language. I’m on Duolingo learning Korean right now.”
Penna sees language as a way to not only open doors for Latin artists, but also reach people through their music.
“Thank God Latin America is being watched,” said Penna. “You know, people can see what we’re doing, and people also are interested in in our languages, in our culture. And in every country we [visit], we try to learn as much as possible about the culture. Now we’re focusing on Portuguese” — a language they test-drove in the song “Velocidade” — “and of course, English.”
Venegas has found that his experience as a Mexican American who didn’t grow up speaking Spanish resonates with some people.
“There were a couple of fans who came up to me who were of Mexican descent, but they didn’t get the chance to learn like me growing up,” he said. “And immediately, they were at a loss for words and kind of filled with emotions. I started getting emotional because I can feel the heartache and … feeling scared, like you don’t belong … and that’s what I felt like. Being able to speak with them and hear what they say made me feel like I’m not alone and like I do matter. Hearing, ‘OK you didn’t grow up getting spoken to in Spanish, but you were still called mijo like I was called mijo.’ ”
Asked why some people struggle to grasp multiracial Latino identity — Cardi B is brought up as an example — Penna weighed in.
“Being in Santos Bravos as an Afro Latino is something so important to me,” said Penna. “I feel like this ‘thing’ of being this or being that… It’s just cultural differences. I’m also working to understand how another culture sees me. As Brazilians, we are very mixed. Of course, I have my Afro side, my mom’s side, I have my Indigenous side… but of course, I am very open and very proud [with] what I’m representing in Santos Bravos.”
“People in general like to categorize,” said Bermúdez, who grew up idolizing Puerto Rican singer Chayanne. Raised in Puerto Rico by parents with both Boricuan and Cuban heritage, Bermúdez bristles at attempts to divide Latinos.
“We as Santos Bravos want to transmit to the world that Latin America is one,” he said
Santos Bravos
(Ronaldo Bolanos / Los Angeles Times)
On the Monday after KCON, I met up a second time with the members of Santos Bravos, who were milling about in the Hybe America offices in Santa Monica. Venegas scrolled through his phone while Penna shuffled past us to grab a drink from the office fridge. I ask whether he’s tired. “A little” he replies, but he’s good.
Upstairs, walking past a large poster of BTS, I met with Juanse Arenas, president of Hybe Global Label Services, who promotes artists outside of their home markets. He said the company looked closely at data and research when conceptualizing the group.
“Mexican regional music became really big, Bad Bunny himself went global,” Arenas said. “You have Karol G, J Balvin, all these massive artists who come from our countries. Latin music is no longer just Latin; it’s global, right? Now, there is a methodology that exists in K-pop that has produced very successful groups. But you can’t just apply that methodology blindly to new regions and to new places — you have to [consider] where the members are coming from, what makes them tick, what drives them and the audience they’re speaking to.”
After posing for individual promo portraits, they gathered for a group photo before singing an acapella version of the uptempo ballad “MHM” for social content. They also greeted their fans on the Weverse livestream, where they expressed sadness over leaving L.A.
“Nos vamos pronto de L.A., mi gente,” said Lavíll to fans. “Y estamos tristes.”
“Wonder Man” star Yahya Abdul-Mateen II has addressed the recent discussions regarding Marvel’s track record on projects led by Black actors after the abrupt cancellation of his show.
“I think the optics are obvious,” the Emmy award-winning actor told Vanity Fair in an interview published Thursday. “If I’m a big business, if I’m Disney, if I’m Marvel, I don’t want to be attached to these optics. So it should be a priority to change that narrative and to do what it takes to responsibly change that narrative with quality stories, with quality resources.”
In “Wonder Man,” Abdul-Mateen portrayed Simon Williams, a struggling actor with superpowers that he had to keep secret so he could work in Hollywood. The grounded series — more a love letter to Hollywood than superhero spectacle — was well-received by critics and fans. But just weeks after Abdul-Mateen was nominated for an Emmy for his work on the show, “Wonder Man” was canceled despite the announcement that the series had been picked up for a second season back in March.
Abdul-Mateen was told that the decision “had something to do with the viewership numbers.”
“I wasn’t told what those numbers were, but ultimately, for whatever reason it was, I think they decided that it didn’t make sense for business, and that’s the decision that we live with and we keep on marching forward,” the actor said to Vanity Fair.
Marvel’s abrupt reversal on “Wonder Man” invited scrutiny from fans who had also noted how “Blade” had been stuck in development for years. The film, which had been announced in 2019, was set to star Mahershala Ali as the titular human-vampire hybrid.
“If they wanted to do it, we would’ve done it,” Ali said to GQ in a recent interview, confirming he had “moved on” from the project. (Marvel Studios president Kevin Feige said during a recent podcast appearance that he felt like “a gigantic loser and failure” for not getting “Blade” made.)
Fans have also pointed to other Black characters whose storylines have been sidelined or left unresolved over the years, such as Ironheart and Monica Rambeau.
There is one Black-led project for which Marvel has ambitions plans, though.
Marvel recently stoked excitement for the “Black Panther” franchise at San Diego Comic-Con with the announcement that David Jonsson has been cast as T’Challa’s son and the new King of Wakanda. “Black Panther 3,” from filmmaker Ryan Cooger, will be released on Dec. 15, 2028.
Despite his disappointment, Abdul-Mateen said in his Vanity Fair interview that he understands “business and life move on.” But he also believes there are things Marvel and the industry can learn from “Wonder Man.”
“I felt that our show did have quality story, did have quality resources, did have quality actors and people, and did produce quality results that the viewers responded to positively, that the [Emmy] voters responded to positively,” he said. “So our show does deserve some study and some real, hard information about why a show like this did not continue forward, because it had all of the ingredients that one would want in a show.”
Grammy-winning singer Jill Scott brought her “To Whom This May Concern” album — her first in more than a decade — to life at Inglewood’s YouTube Theater last week. Backed by a razor-sharp 11-piece all-male band (including background singers fittingly dubbed “Freeman”), Scott moved effortlessly through a two-hour set filled with songs from the genre-expansive album along with several fan favorites like “He Loves Me (Lyzel in E Flat)” and “Gettin’ in the Way.”
Enforcing a phone-free policy at her personal request, the North Philadelphia native kept the audience intensely locked in — hanging onto her every word and every seemingly impossible note she struck with ease. Before long, it was easy to forget that we didn’t have our devices. Smiles filled the intimate room. Couples danced together. Strangers sang to each other in joyful unison, while others closed their eyes or held their hands on their chest in complete awe of witnessing a veteran artist in her element.
Jill Scott is on tour for “To Whom This May Concern,” her first album in over a decade.
(Jada Imani M)
In her only interview during the tour thus far, we caught up with Scott backstage to talk why she never performs a song the same way twice, how removing devices makes concerts better and why she thinks “To Whom This May Concern” deserves several accolades.
I’m still coming down from all of the energy from the show. How are you feeling post-show?
I am hot from the inside, and it’s gonna take me hours to calm down. [Laughs]
You’ve always described music as an intimate, two-way conversation between you and the audience. For this tour, you created a strictly phone-free space. Why did you decide to do that and how did this shift the experience for you as a performer?
In a couple of ways. One part is that it’s terrifying because there’s no buffer between me and them, so that’s actually scary, but I embrace it. The other part of it is that it’s wonderful because people initially come in kind of nervous about not having a buffer between myself and the space or themselves and space. Then I watch them gradually release, and I get a kick out of that every night. That’s my favorite part.
I’m surprised to hear that it’s scary for someone like you who’s been performing at such a high level for so many years.
Because I care. It matters to me. I really want them to have a good time. I really want them to release some things, allow themselves to be. If you want to make out, if you want to dance, if you want to cry, if you want to shout, or put up your hands in the air, or sit still, I want them to be able to do that. I think it’s important. That’s the relationship. That’s the real relationship between artist and fans of the music. It’s the connection between the music. I’m here to [be of] service. I’m here to push the ship along, but it’s really their relationship with the music and I’m a conduit. That part is probably one of my other favorites. You have to relinquish your id and allow the thing to be the thing. I think sometimes you can practice the joy and the life out of a thing. We practice a lot, but then we forget everything we practice so that it’s alive. My musicians’ freedom is mandatory. It’s a part of the job. So if they show up and play the exact same thing in the exact same way every night, they’re probably not going to be around very long. I need them to be wide open and to rediscover the music every night from their perspective. It’s their 11 perspectives on stage, and then of course there’s the lighting designer. I need him to be free. Don’t give me the same light at the same time every night. Even front-of-the-house sound engineer as well as our in-ear monitors, everybody is playing a part. “What does she need? Let’s read her. Let’s, you know, pay attention. What does she want?” It’s a lot of fun.
You could see really feel that from you and your entire band.
Tonight was a different audience. They were very attentive. Last night they danced all night long from the very beginning. I couldn’t even see the floor. Tonight they were listening. I know it’s a Wednesday night. Everybody’s got to go to work [the next morning], but they were beautiful. The listening audience is probably my favorite. They get quiet and I’m like “Oh, it’s so scary. Am I doing the right thing?” [Laughs] But that means they’re listening. Who doesn’t want to be heard?
Your son came out with you tonight. How was that experience for you?
It’s beautiful to see. He told me Tierra Whack is not traveling with us because she has a new album out, “Whack’s Museum,” so she’s a little busy. He was like, “Mom, how do you feel about me doing the second verse?” and I was like “Be at sound check tomorrow with a mic in your hand.”
He looked so comfortable on stage.
He does. It’s kind of scary. Super exciting. I don’t know what he’ll want to do, but he’s working our set, so he’s a part of the crew. So after he does his performance, he puts back on his blacks and he does his job, and I love that for him, to have that sense of responsibility. He’s exceeding anybody’s and everybody’s expectations. He’s so good at this. All the clothes you see, he steamed up.
He’s really working his way up.
Yes, you must earn your way.
Your album “To Whom This May Concern” released in February, and it feels like a love letter from your favorite auntie. There’s lessons about learning from your mistakes, honoring your ancestors and loving yourself. Now that your fans have been living with these songs for several months, I’m curious if performing them live has shifted your relationship with them at all?
No. On a great night, I like telling the stories that I’ve read. I like embodying them in front of other people. I like watching them experience them in a new way. I’m a fan of that. It just makes it more and more true. Then I see how many people are singing along and how many people are looking at me, and I’m like “Yesss.” It’s reaching the people and I know it’s going to be different because there’s a different audience every night. So I’m thrilled about the project and how it’s touching people. You hope you don’t work this hard at a thing for it to fall on deaf ears, and I know how microwavable music has been, but I believe the cream rises to the top. It’s been a beautiful 26 years. I look forward to 26 more — in my way.
Your album has been receiving a lot of praise from fans and critics. There’s still a few months before the Grammy nominations are announced, but at this point in your career, how important is that recognition to you? Is it as important as it was when you first started your career?
I think I deserve it. That’s all. [Flashes a smile]
I mean everything about this project from beginning to end is blood, sweat and tears. I stayed up many nights just to write, a hunger in my belly and a savage appetite. And I mean it. Everything is true and I love that for me. That’s the kind of thing that takes time and I think musically, it’s incredible. I think the stories are awesome and intentional, and everything about it, from the planning of it to the marketing, has been from my soul, and I think it deserves several.
Past the halfway mark of the Olympic quadrennial, LA28 has passed its own halfway point for ticket sales.
LA28 announced Friday it sold more than 6 million tickets during its first two drops, accounting for more than half of the expected Olympic ticket availability.
The remainder of an estimated 10.5 million Olympic tickets will move to first-come, first-served sales beginning in 2027. Additional inventory across every sport will be added during the next stage and ticket limits will be lifted, but LA28 did not announce the opening date.
“Overall the level of enthusiasm, the interest in the Games, the excitement to commit this far out from the Games has all been really affirming for how LA28 is coming together and the excitement everyone’s feeling about it,” said Allison Katz-Mayfield, LA28’s senior vice president of Games delivery revenue.
More than 700,000 of one million $28 tickets were sold during the first two drops. While fans have clamored for tickets, many were disappointed and frustrated with high prices and limited availability that seemed to sell out almost instantaneously. Each LA28 ticket drop came with the fine-print condition of “subject to availability.”
LA28 wanted to be “conservative” with the initial inventory available during the first two drops, Katz-Mayfield said, because organizers didn’t want to sell tickets only to discover later that fans might be stuck with limited visibility of an event. For example, Crypto.com Arena’s footprint will be changed to accommodate artistic gymnastics, with up to six apparatuses on the floor along with areas for judges, broadcast positions and media. The seating plan, which will be different than ones used for Lakers games or concerts, is still being developed. The same goes for the planning of temporary venues.
“It’s a fan-focused approach from my perspective,” Katz-Mayfield said. “We don’t want to be in a position where we sell something that doesn’t equate to the experience that someone is expecting to have.”
LA28 said more tickets will be available on a first-come, first-served basis for every sport next year as organizers refine venue layouts. Tickets that appear unavailable one day could go on the market weeks later as organizers gain a clearer picture of setups. With first-come, first-serve purchasing, the ticketing platform will remain open continuously through the Games.
“If you’re one of those people that has a very, very specific idea of what they want and they don’t want to move off that at all … then continue to check back because we’ll have tickets on sale through Games time,” Katz-Mayfield said. “So you can check on that first day. But you could also check two months later, and it could be different.”
New sports remained a hit for fans, who scooped up all available tickets to softball, lacrosse, flag football and squash during the second drop, LA28 reported. All tickets available for Oklahoma City’s softball and canoe slalom events were sold through for both drops. More tickets for those events will be added in 2027.
Although many fans have their hearts set on a single, high-demand Olympic event, others might be open to discovering different sports during the Paralympics. Tickets for the Paralympics will also go on sale in 2027, beginning with a lottery for assigned time slots, similar to the first Olympic ticket drops. About 25% of the total 14 million tickets between the Games are earmarked for the Paralympics, which will be in L.A. for the first time.
The Paralympics are typically priced at much lower prices than the Olympics. The Paris Olympics had single tickets as high as $1,065 (980 euros in July 2024) for swimming and track and field and as low as $26 across all sports. Half a million tickets for the Paris Paralympics were $16 and half of all tickets were priced less than $27. There were also Paralympic ticket packages for multiple sports and families. The strategy paid off with approximately 2.5 million tickets sold, the second-most ever for a Paralympic Games, and a record 12 million total tickets sold between the 2024 Olympics and Paralympics.
Despite starting earlier than previous Games, LA28 said it is already on pace to surpass Paris’ sales record after the 2024 Games sold 5.39 million tickets through their second drop in May 2023. Paris sold 9.5 million Olympic tickets total.
Fans who registered for Olympics tickets will already be registered for the Paralympic lotteries and LA28 is working to open registration specifically for the Paralympics.
“[Don’t] forget how great the Paralympics are,” Katz-Mayfield said, “and how much opportunity there’s going to be there to see different sports, new sports, be a part of the Games, and see world-class athletes compete, maybe in a way that you haven’t seen before if you’ve only seen the Olympics.”
Selling millions of tickets before schedules or matchups are even set has “given [LA28] a lot of confidence in where we’re at today,” Katz-Mayfield said. The early ticket sales have given the private organizing committee a strong foundation for one of its largest revenue drivers.
Ticketing and hospitality are expected to cover almost $2.5 billion of LA28’s total $7.1-billion budget for the Games. It is the second-largest source of expected revenue to help cover what LA28 has promised will be a privately funded Games.
MADONNA appears to have outed herself as a fan of The Durrells, after taking over a tiny village made famous by the ITV drama to celebrate her 68th birthday.
After I revealed how Madge had spent the start of her celebrations flying to the monasteries of Meteora in Corfu over the weekend, stunned locals now tell me how she and her entourage descended on Kouramades for a very special party this week.
Madge has outed herself as a fan of The DurrellsCredit: Instagram/@madonnaThe singer celebrates her 68th birthday in the tiny village of Kouramandes in CorfuCredit: Instagram/@madonna
The tiny community, which has just 180 residents, was one of the locations used on the hit show, which starred Keeley Hawes.
Madge, boyfriend Akeem Morris, her family and entourage booked out tiny taverna Atzaro for a meal, complete with a child choir, who locals told me were specially flown over from Italy to perform.
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An onlooker told me: “No one could believe Madonna was coming until she actually turned up.
“The security measures were pretty intense and there was a police presence, as well as Madonna’s security to keep her safe.
Madonna’s bizarre cake caught the eyeCredit: Instagram/@madonnaMadonna took over the tiny village made famous by ITV drama The DurrellsCredit: ITV
“She wanted to visit the central church but they cancelled it because there was quite a crowd gathering. They headed to Atzaro for dinner and that was really special. Singers and a children’s choir from Italy performed as they ate traditional meals.
“Just before midnight, the group started dancing to the Zorba The Greek song and a birthday cake came out. They sang the birthday song three times and then danced until 2am. Once they left, the crowds that had gathered outside started clapping and chanting her name.”
Madonna’s visit to the village has now gone down in folklore — and I’m told the Material Girl superstar lapped up the attention.
“As she drove away, Madonna seemed to love everyone cheering so she popped her hand out and waved a bit like a member of the royal family,” a local added.
Guests dance at the partyCredit: Instagram/@madonnaMadge is the most nominated artist for the 2026 MTV VMAs, taking place on September 27Credit: Instagram/@madonna
Her birthday isn’t the only thing she has to celebrate, as last night it was announced Madonna is the most nominated artist for the 2026 MTV VMAs, taking place on September 27.
She leads the pack with 11, including Video, Artist and Song of the Year for Bring Your Love, while Taylor Swift is just behind with nine nods.
Jesy’s Ben in rooftop rift
Jesy Nelson’s boyfriend Ben Davies was caught up in a ruckusCredit: SplashOnlookers told me the former Little Mix star and her new man were asked to leave the posh Madison rooftop bar in London on Saturday nightCredit: Supplied
Onlookers told me the former Little Mix star and her new man were asked to leave the posh Madison rooftop bar in London on Saturday night after it all kicked off.
One told me: “Ben was getting in people’s faces when he was out with Jesy at Madison.
“Something had been said and he didn’t seem to be happy about it. He looked like he was about to get in a fight before all the bouncers swooped in.
“It was all pretty uncomfortable to watch. Jesy was amazing and kept her cool. She was trying to de-escalate the situation and appeared to be keen to get out of there.”
It’s not the best start to their romance. I revealed earlier this month how Jesy had started dating landscape gardener Ben, who counts Towie’s Lydia Bright among his exes.
They were spotted on a night out in London, before being snapped this week holding hands and snogging in the street, inset.
To avoid Ben digging any more publicly embarrassing holes, I think a quiet night in should be their next date.
Ronan abs go down a Storm
Ronan Keating marked his 11th wedding anniversary, pictured with missus StormCredit: Instagram/@rokeating
RONAN KEATING marked his 11th wedding anniversary to remind all his fans just how hot he is.
He revealed his gym-honed body with this snap on Instagram, posing alongside his equally fit missus Storm.
The Boyzone singer wrote: “We have the most incredible life and it’s all down to you. God I love ya.
“Thank you for loving me through the good and the bad versions of myself. You make me a better human and I thank you for it all.”
Green Day give us Glasto
GREEN DAY want to headline Glastonbury – but insist they have never been asked.
The American band, who have more than enough hits to top the bill, will be celebrating 40 years since they formed next year, so the timing couldn’t be better for organiser Emily Eavis to get on the blower.
Asked if they would like to do it, drummer Tre Cool said: “Yeah. If they ask us. It’s the last great festival we haven’t done.”
They have just released a comedy movie called Nimrods, which is loosely inspired by the band, but insisted a biopic won’t happen until they’re older.
He told NME: “A biopic is more of a retirement plan. We’ll do that when we’re actually old and we’re doing our residencies in Las Vegas or something.”
Spotify is planning Home Run
SPOTIFY has announced a new live music series, Hometown, which will celebrate artists and the places that shaped them.
Next month, Jorja Smith, Nemzzz and Beabadoobee, will return to the communities where their musical journeys began for intimate, one-night-only performances.
Jorja, who releases her new album What Are The Odds this Friday, will play her gig on September 6.
She said: “Walsall is where I first started writing and recording music as a teenager. It’s where my love of music began and the people, experiences and sense of community there continue to influence my creativity today.”
Nemzz will perform in Manchester on September 12, while Beabadoobee is scheduled to play a concert in London on September 17.
Noel: My reunion doubts
Noel Gallagher had reservations about reuniting Oasis with brother LiamCredit: Simon Emmett
NOEL GALLAGHER had reservations about reuniting with brother Liam for their sold-out Oasis tour last year.
But Liam, who’d pushed for a reunion for years, made it clear he wanted to get back on board with Noel, saying: “The way it finished, unacceptable. It didn’t sit right with me, man.”
Looking back on their rows, which caused Oasis to split in 2009, Liam said: “We all said s**t we didn’t mean. I feel like I am exorcising demons, getting it all out. The rage. I need to calm the f**k down.”
Before the first show at Cardiff’s Principality stadium last July, Noel added:
“One of the biggest moments of our lives, right?
“I’d forgotten what [Liam] means to people. I certainly wasn’t prepared for the intense outpouring. A sense of what it meant to people. You’ve got a chance to change the narrative of the band.”
Isla’s red-hot
Isla Fisher in New York promoting new movie Spa WeekendCredit: Splash
YOU can take it as read . . . Isla Fisher is definitely a fiery redhead.
On the promo trail in New York for new movie Spa Weekend, which is out on Friday, she said: “I’m a real redhead and I feel like I’ve earned the right to be red because I was bullied at school and I had all of the usual stuff that redheads go through.
“I always get mad when people just dye their hair red, I’m like, ‘You don’t know what we went through at school to be redhead!’”
THE WANTED are working on new music – but without half of the original line-up.
Max George and Siva Kaneswaran are writing new material as a duo after Nathan Sykes and Jay McGuiness decided not to return following Tom Parker’s death in 2022.
Siva told Culture Fix: “We’ve been writing for the past few months, so we want to carry on.
“The essence of The Wanted was pop/dance and I think we’re going to lean a bit more towards dance.
“I don’t think that’s a crazy thing to do for us.”
In 2007, the actor Felicia Day debuted “The Guild,” one of the first works, maybe the first, to demonstrate that the web could be a legitimate platform for full-blown, character-driven, narrative comedy. (YouTube was only two years old at the time.)
Online since there was a line to be on, Day — also known also for “Supernatural,” “Buffy the Vampire Slayer,” “Eureka,” “Mystery Science Theater 3000” and as the female lead in Joss Whedon’s “Dr. Horrible’s Sing-Along Blog” alongside Neil Patrick Harris and Nathan Fillion — played Cyd, a.k.a. Codex, a young woman at loose ends who finds community with a group of gamers whose quirkiness puts her own into perspective. The series, which she created and wrote, from experience, grew more ambitious and technically impressive across its six seasons, with cameos by the likes of Fillion, Zachary Levi, Stan Lee, Brent Spiner, late Mythbuster Grant Imahara and Wil Wheaton. There was a cultural specificity to the setting and storytelling — lots of gaming jargon and jokes — but the humor in the characters was universal, and the show, for all its well-proportioned silliness, felt very alive.
Now, as the series’ 20th anniversary approaches, Day is reviving “The Guild” as a feature, “The Guild: Ren Faire’d,” through a Kickstarter campaign due to end Friday. By the time I pledged, early on the first day of fundraising, the campaign had already met its initial $1.5-million goal — the minimum required, Day calculated, to pull off a version of her script. As of this writing, with just a few days to go, the campaign has raised more than $5 million. Everything over $4.5 million will go to making the film even better, but also support “Conludo,” a new game-playing series with Wheaton along the lines of their “Table Top,” created in 2012 for the Day-founded YouTube channel Geek & Sundry.
Day is also the author of a charming memoir, “You’re Never Weird on the Internet,” and a mental exercise book, “Embrace Your Weird: Face Your Fears and Unleash Creativity.” Earlier this year, Simon & Schuster published “The Lost Daughter of Sparta,” her graphic novel (with illustrator Rowan MacColl) about Philonoe, Helen of Troy’s lesser-known fourth sister, an on-brand tale of self-determination and embrace of one’s difference.
I interviewed Day by email as she traveled the convention circuit.
Day’s Kickstarter surpassed $5 million, allowing her to make not only “The Guild: Ren Faire’d” but also a new game-playing series.(Parker Burr / For The Times)
How does it feel to be back wearing, or about to wear, the character of Codex?
It’s so empowering to go back to this world that I crafted and this character that means so much to me and my fans. She and I have diverged a lot over the years, but her voice is still strong and clear in my ear, and I’ve had so much fun writing for her again. I haven’t been in charge of my own stories on this scale in a long time, so this all definitely feels like coming home.
It was an offer to turn “The Guild” into a television show that prompted you to get the film going. Had you thought of the possibility of bringing it back before then?
Early in 2025, I’d been thinking about the 20th anniversary of the show and how to celebrate it, but a movie is a huge project, one I was wary of committing to. A phone call with a very nice Hollywood executive wanting me to reboot the show with younger actors was the kick in the pants I needed. The business has been so hard on me, and a lot of people, especially these last five or so years. To even think about having the one project I held dear taken away from me? That got my fire lit.
How did you know to hang on to your IP?
I had met a few people in the early web days who’d sold their show to producers and networks, only to have them buried in development hell and never be seen again. My audience meant, and still means, so much to me, that I didn’t see the point in losing control of the show when it felt like we were doing all the right things on our own. The fans’ support gave me that confidence, and thank goodness for it, or I wouldn’t be able to make a movie today.
How did you cast the original show? Were any of the actors already gamers?
I wrote two of the main parts for improv friends, Zaboo (Sandeep Parikh) and Vork (Jeff Lewis), and I found the rest of the actors from a Backstage casting call. Several of them were already gamers, but a few were anything but (namely, Amy Okuda, who played Tinkerballa — she took some arm twisting). Over the years, though, they’ve all turned into gamers. We’ve enjoyed many a Fortnite session together, especially during COVID times.
Felicia Day as Codex. Other characters returning for “The Guild: Ren Faire’d” are Zaboo (Sandeep Parikh) and Vork (Jeff Lewis).
How has your reunion been going?
I had to make sure the script was good enough before I asked my fans to support it, so in February I had a table read with the main cast. Truly, it felt like no time had passed. We were all laughing so hard, ribbing each other on any little mistakes. It was so much fun to rediscover our characters together again. What we have together as a group is magic, and I can’t wait to get the band back together on set again.
You have a “no AI” sign on the Kickstarter page. What are your thoughts about artificial intelligence versus human creativity?
I look at AI as a great robber of humanity. Not only in the sheer existence of the AI itself, which is comprised of literal stolen material, but in robbing creators of their process. Because process is everything. It’s the whole point, in my opinion. That challenging struggle to write a first draft is how you discover who you are as an artist. But if you don’t do the work, you’ll never truly find out what you want to say to the world. You can’t create anything truly unique to yourself. It just makes me sad. To use a tool filled with other people’s stolen ideas in order to fast forward to an end result for attention, well, that isn’t art. That’s a cheap dopamine hit. And you’re no better a creator for having done it. Please don’t rob yourself like that.
The movie will be set at a Renaissance Faire. What’s your own history with them? Do you go in costume?
I’ve gone to Ren Faires for over a decade. We have a few great ones in SoCal I encourage everyone to explore. The costumes, the vendors, the food — all of it transports you to another world in such a magical way. I want to celebrate everything I love about the setting in our movie. I often go in costume, now with my 9-year-old daughter. It’s actually our Mother’s Day tradition and very dear to my heart.
Day on her work and motherhood: “I’ve learned that, especially as an artist, you have to be your own protector, own advocate, and give yourself unconditional love to be able to tap into what makes your art your own.”
(Parker Burr / For The Times)
Has motherhood changed how you work?
Absolutely. I had no idea how to parent myself before I parented another person. I’ve learned that, especially as an artist, you have to be your own protector, own advocate, and give yourself unconditional love to be able to tap into what makes your art your own. My experience writing this movie has been entirely different from in the past, when I let fear and outside pressure take the fun out of creating. This time, I allowed myself room to play and to make mistakes, just like I encourage my daughter to do. I think my work has benefited greatly from that gentle parenting.
The original “Guild” and the way you’ve mounted this campaign feels like the work of friends, like Mickey and Judy getting the gang together in a someone’s uncle’s barn to put on a show. (Which isn’t to say “amateur.”)
The heart of everything I do is this: I just want to play with my friends and my fans. I want to delight them with new ideas. I want to surprise them with laughs. The industry often divorces us from what got us into the business in the first place: making believe. Creating together. I like my work to embody the kind of spirit you can’t have in more mainstream media where there are levels of approvals over everything and the budgets are so high that the pressure takes the fun out of it. Yes, it’s challenging to make anything with fewer resources, but the community can see the ins and outs of my process and I hope that empowers them, in turn, to create their own things with their own friends one day.
What inspired your new graphic novel?
Being cut off from Hollywood over COVID made me brave enough to write a story I knew wouldn’t be anything an executive would care about if I pitched it. For many years, I didn’t allow myself to develop ideas like that. What was the use if they didn’t find it useful? But in allowing myself the space to write this story set in the world of Greek mythology, I’ve found new confidence as a writer. I want to keep telling stories only I can tell, in whatever format I can. I never want to discard them again because other people won’t find them useful. I hope that anyone reading the book feels the same encouragement to follow their inner muse. Because everyone deserves to be loved for exactly who they are, even our stories.
The Disney theme parks are entering their fan feedback era.
This past weekend’s all-things-Disney fan event at the Anaheim Convention Center was the first with Josh D’Amaro installed as CEO. And D’Amaro’s message to fans was clear: We’ve heard you, we know what you want and we’re working on it.
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That means Disneyland Park is at long last getting its Tomorrowland makeover, a top fan request for much of the last decade-plus. Walt Disney World’s Animal Kingdom is fixing its broken yeti, the star of thrilling roller coaster Expedition Everest that has been busted for about 20 years. Epcot’s fan favorite purple dragon Figment will soon be starring in a brand new attraction that resurrects his bearded creator, Dreamfinder, saving fans from suffering through its current half-hearted iteration in which “Monty Python’s” Eric Idle essentially treats the beloved character as a pest. (I ride it because I adore Figment, but I cringe throughout, and not just because at one point we’re annoyingly blasted with the smell of a skunk.)
And Disneyland Paris is yanking the marketing-driven “Star Wars” overlay Hyperspace Mountain from Space Mountain to return the coaster to its superior Jules Verne-inspired original. Disneyland officials take note: We don’t want Hyperspace Mountain here, either, but at least ours isn’t semi-permanent.
The long-broken yeti on Walt Disney World’s Expedition Everest will eventually be fixed. The above is an artist rendering of the attraction released by Disney Experiences.
(Disney)
It’s a sharp move, and may seem like a no-brainer, but following fan feedback doesn’t come without some risks. Fans, after all, rarely know best, often prioritizing nostalgia and lore over evolution. And Walt Disney Imagineering has remained one of the most respected corporate creative institutions for a reason. In short, fans, don’t let this go to your head.
But D’Amaro is also showing that he understands something not all Disney leaders have appeared to be well-versed in. And that’s the fact that the best IP of the Disney theme parks are the parks themselves.
Disneyland Park’s biggest selling point is not “Star Wars,” “Snow White and the Seven Dwarfs,” “The Princess and the Frog” or “Peter Pan.” It’s Disneyland itself, a temple dedicated to our narrative myths and communal play.
For too long Disney parks seemed to be, if not led, steered by its marketing teams. A franchise here, a franchise there. That thinking led to lesser designs such as a misguided remake of Paradise Pier into Pixar Pier at California Adventure, in which Pixar characters are basically treated as decals. It’s led me to argue in the past that Disney’s IP was squeezing the theme out of its theme parks.
Tomorrowland in its current state is a mess of ideas with a number of underutilized buildings.
(Allen J. Schaben / Los Angeles Times)
Disneyland last attempted to revamp Tomorrowland in 1998, and while the concept was on point — a retro-futuristic, Verne-inspired look of sci-fi fantasy — the company didn’t fully commit to it and the land has largely been a mess of ideas since. Space Mountain remains a symbol of optimism dedicated to the joy and unpredictability of galactic exploration. But the rest of the land, save for the monorail, one of Disneyland’s most recognizable monuments, should be considered fair game.
Tomorrowland has become such an eyesore that even Disneyland President Jill Estorino recognized its negative press at a pre-D23 media event. “Painful to read,” she said to the assembled media as she rattled off stories observing the “little tomorrow in Tomorrowland” and describing the land as “tired.” Estorino conceded it was “all true.”
That made this past weekend’s announcement even more of a surprise. The reimagining, as Disneyland is calling it, is in good hands. Imagineer Emily “Emo” O’Brien, the creative producer overseeing the Disneyland Resort, recently worked on Fantasy Springs at Tokyo Disneyland, a highly acclaimed modern take on a Fantasyland-like area home to fresh takes on “Frozen,” “Tangled” and “Peter Pan.” O’Brien has been with Imagineering for about 30 years, and one of her first projects was hand-shaping the armrests of the approximately 2,000 seats of Disney California Adventure’s Hyperion Theater. The little details at a Disney park matter.
Promotional art for a reimagined Tomorrowland released by Disney. The project, according to Imagineers, is in its infancy.
(Disney)
“I grew up in my career with this legacy,” O’Brien said. “I understand the kind of gravitas and the responsibility that I have with our team to guide us through this journey of reimagining the only Tomorrowland that Walt [Disney] actually envisioned, designed and walked in.”
A remade Tomorrowland, to be clear, is years away. No questions were answered on Tomorrowland at D23, so fans will have to wait to hear what this means for the long out-of-work PeopleMover. And as previously reported, Estorino said the reworking of the original Disneyland area will come after California Adventure opens its “Avengers” and “Coco” attractions. The former two were given a 2028 date, while “Coco” still does not have an opening window. After Tomorrowland, the resort intends to tackle “Avatar.”
The fan favorite purple dragon known as Figment at Walt Disney World’s Epcot. The attraction Journey Into Imagination With Figment has been earmarked for renovations.
(Todd Martens / Los Angeles Times)
At a Disney parks presentation Saturday evening, the Tomorrowland announcement received arguably the largest applause. But it was closely followed by the reveal of a reworking of what is currently known as Journey Into Imagination With Figment at Epcot. That ride has been a shadow of its former, glorious self since the late ’90s, even as the squeaky-voiced Figment has remained a popular mascot for the park. That’s no real surprise, but I, of course, am biased, as I have a Figment tattoo and the character was my childhood favorite.
Figment is a dreamer, his very existence the result of a dreamer. While I don’t necessarily trust the memory of my 10-year-old self, I remember Figment becoming an astronaut one moment and pretending to be a ship’s captain in the next. Visions of that ride are burned into my brain. Figment was a reminder to a video-game-obsessed kid that while you can’t do everything, you can at least envision anything.
And Imagineering appears to be doing just that at the moment. The projects, of course, will have to be conceptualized, designed and built, and there’s still time to make mistakes, such as attaching a known IP to the reimagined Imagination (don’t do it).
Concept art for the Maleficent attraction coming to Villains Land.
(Disney)
Tomorrowland has been flawed since the early 2000s and Disney can survive without touching it. Its attractions — Star Tours, Autopia, Buzz Lightyear Astro Blasters — still, after all, draw crowds. The commitment to redesign it may be a crowd-pleasing one, but it’s also a reminder, a symbol of understanding.
If something’s broke, you correct it. You don’t let it sit in a derelict state simply because the financial math doesn’t justify new guest spending or increased crowds. The Disney parks are a home away from home for many a visitor, and they should be treated as such.
D’Amaro, of course, as CEO will be evaluated on much more than simply how he leads the parks. But he and and his partner Thomas Mazloum, the chairman of Disney Experiences, came to this D23 with one message: We’re one of you. Expect the Disney die-hards to hold them to it.
One more D23 thought
An Imagineering research and development project in which Grogu and the character of Hugo are represented as robotic figures serving guests.
(Todd Martens / Los Angeles Times)
The Imagineering booth on the convention floor was full of delights and wonders, especially in its research and development section. I tend not to devote a ton of newsletter space to R&D, only because I’d rather focus on what guests can or will be seeing in the future, but the two “Star Wars” attractions shown not only deserve their props, but belong in Star Wars: Galaxy’s Edge.
One is a no-brainer, and it’s a snack stand featuring Grogu and Hugo from “The Mandalorian and Grogu.” The latter, voiced by Martin Scorsese in the film, is largely asleep and snoring in the food truck-like stand, while Grogu uses the Force to whisk orders across the counter. Fan were transfixed. And this seems like the perfect mix of corporate and creative desires, as no doubt many a Disney guest would order an extra soda if it came with a show featuring “Baby Yoda.”
An Imagineering research and development project featuring robotic Anzellan mechanics that can interact with guests.
(Todd Martens / Los Angeles Times)
The other was an Anzellan work bench. Anzellans are tiny creatures introduced in “Star Wars: The Rise of Skywalker” known for their engineering skills, and here they were seen working on droid parts. But they also interact with guests.
Get close enough, and they’ll stop what they’re doing to quizzically look at you, ask you a question or maybe even repeat what you said to them. They’re as lifelike a robotic as Disney ever created, and the 14-acre Galaxy’s Edge is never not in need of more activity. Here’s hoping these little guys find a destination in the parks soon.
This week in SoCal theme parks
The vibrant, dance-focused “Magic Happens” parade will return to Disneyland in 2027.
(Allen J. Schaben / Los Angeles Times)
Halloween is here! While the temperature may not feel like it, the fall Halloween season has arrived, and the Disneyland Resort’s Oogie Boogie Bash begins Tuesday evening. Additionally, the resort-wide Halloween Time launches Friday. There are still tickets available for many an Oogie date, and new this year is a Haunted Mansion-inspired street festival as well as the arrival of Yzma, the villain from “The Emperor’s New Groove.” Oogie is a good time, especially if you haven’t done it before.
Looking ahead to Disneyland in 2027. With the new Avengers Campus not opening until 2028, the Disneyland Resort in 2027 will rely heavily on entertainment to lure locals back to the park. That means the fantastic “Magic Happens” parade is returning before next summer season. While it has the requisite mix of Disney characters, it’s also notable for its use of contemporary dance. Also returning is the original “World of Color” to Disney California Adventure and a refreshed version of the fireworks show “Remember… Dreams Come True” at Disneyland Park. Both are expected in February, shortly after the holiday season concludes.
A blow to the in-park games of Disneyland. Reports surfaced Monday that the Walt Disney Co. was killing the Play Disney Parks app, which is home to the enjoyable Star Wars: Datapad game Batuu Bounty Hounters. The app was largely designed to give fans activities while they waited in lines, and was also meant to turn Star Wars: Galaxy’s Edge into a live-in video game. The app will go offline Sept. 16, according to Disneyland officials.
A new window on Main Street. Former Disney CEO and future Los Angeles Lakers co-owner Bob Iger has received a window on Disneyland’s Main Street, U.S.A. The honor is reserved for those who have heavily impacted the Disney parks, and Iger certainly qualifies, as his many acquisitions — Marvel, Pixar, Lucasfilm — changed the tenor of Disneyland and beyond. Look for Iger’s window above the Emporium gift shop, where he is heralded as a “new century builder.”
Good news for Disneyland’s ‘Monsters, Inc.’ fans. With the announcement that Disney California Adventure’s “Avatar” experience won’t arrive until after Tomorrowland’s redo, the attraction Monsters, Inc. Mike & Sulley to the Rescue! will get to remain open a little longer. Previously, the attraction was supposed to close in early 2027, but Disneyland officials now say the dark ride will remain open for the foreseeable future. A closing window will be announced at a later date.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
A still from the Smugglers Gambit game in Fortnite.
(Image from Disney)
The Disney theme parks this past weekend deepened its connection to “Fortnite” as part of a partnership with Epic Games. The latter’s Unreal Engine already fuels Millennium Falcon: Smugglers Run, as well as a new Pirates of the Caribbean audio-animatrionic. And now guests who utilize the Disneyland app and connect it to their Epic Games account can receive in-game rewards for experiencing the Millennium Falcon attraction, including the recovery of a unique crate on the ride.
I had a chance to play the “Fortnite” experience inspired by the ride, “Smugglers Gambit,” and appreciate the way park worlds are being used to fuel connection to them at home. “Fortnite,” admittedly, is not my game of choice, but “Smuggler’s Gambit” was more robust than I expected, and I’m happy see aspects of the fictional planet of Batuu represented in the digital space. Business writer Samantha Masunaga has more on Disney’s relationship with Epic Games.
NEW YORK — It was 2023 when Laufey, the Icelandic singer-songwriter known for her neoclassical jazz-pop, decided to create a global fan event. Her second album, “Bewitched,” was soon to be released and she wanted to do something big to celebrate it. But more than that, she says, she “wanted to find a way to get my fans out of their homes, and to really follow an itinerary of my perfect idea of a day and have the music from ‘Bewitched’ follow it.”
And thus, “A Very Laufey Day” was born. Each year, the Grammy-winning singer curates itineraries for different locations across the globe for her listeners to follow. It’s “anywhere I have been and loved,” she says. It allows them to live what she refers to as “a perfect day,” but also to connect with their community offline and in person. And as she approaches its fourth edition, it has only grown larger.
“It became much bigger than I anticipated, really,” she says. She sought to inspire her audience to find “third spaces,” and explore some of her favorite locales: museums, bookstores, cafes, concerts and the like, and foster community in the process. And each year, it has only grown bigger, with fans dressing up in their favorite Laufey-themed vintage fashions to celebrate the unofficial holiday.
And Aug. 23 will mark the fourth annual “A Very Laufey Day.”
“It is a fun puzzle every year,” she says.
‘A Very Laufey Day’ 2026
This year, “A Very Laufey Day” will include experiences in 75 cities across 25 countries, centering on the theme of “A Celebration of the Arts.”
“Wherever in the world you’re spending your day, I hope you feel inspired and invigorated,” Laufey wrote in a note on her “A Very Laufey Day” website.
Fans can expect performances spanning symphony orchestras, ballet, jazz, opera and theater as well as events with libraries, bookstores, coffee shops, yogurt/ice cream shops and more. Her concert film, “A Night at the Symphony: Hollywood Bowl,” will be screened at select theaters. And she’s partnered with many museums around the world, including New York City’s Guggenheim, the Los Angeles County Museum of Art, the Museum of Contemporary Art Chicago, London’s Tate Modern and National Gallery, Chile’s Museo Nacional de Bellas Artes, Seoul’s Daelim Museum and more. At some participating businesses, fans will be able to acquire limited-edition merchandise and Laufey-themed specialty drinks.
LACMA is offering a discount code, AVLD, for museum visitors on Aug. 23. As of Aug. 16, the code took $2 off tickets. “Come spend the day enjoying something beautiful,” LACMA wrote on Instagram.
“This year it was really about focusing on the arts and culture and finding ways to bring this barrier of entry down between my audience — which is mostly Gen Z and Gen A — and these kind of so-called high cultural experiences,” she says. “Whether it’s going to see an orchestra show … museums or galleries, we really want to find ways to connect with those institutions.”
Some of these spaces can be intimidating for younger fans, and Laufey says this year was all about making these rooms, some of her favorites, inviting to her audience.
“It doesn’t have to be this scary thing. And so, I’ve kind of made it my life’s mission to make spaces like that fun and accessible,” she says.
Sixth in a series of stories profiling top high school football players by position. Today, Godschoice Eboigbodin, JSerra defensive lineman.
“Bro, we need you.”
That was the heartfelt message from JSerra High football players directed toward Godschoice Eboigbodin as he walked around campus looking like a high school version of Thor with his bulging muscles.
He played basketball for the Lions, but after his sophomore season he decided to try football, since his physical play in basketball led to fouls, something that was legal in football.
“People say I’m aggressive. I fit in with football,” he said.
He has grown to 6 feet 5 and 260 pounds. He still has trouble putting on football pads — “I’m still trying to figure it out” — but as an edge rusher, there’s no telling how far his journey will take him. He committed to UCLA during the summer. He works relentlessly in the weight room gaining strength.
Godschoice Eboigbodin of JSerra makes a shot against Rolling Hills Prep.
(Craig Weston)
“The guy can move,” coach Hardy Nickerson said. “He’s an athlete at defensive end. You see that talent playing on Sundays.”
He could be the next success story from Nigeria, where he was born and lived until coming to the area as a freshman while living with a host family, the Franklins. He is the sixth of seven siblings.
He got his first name from the woman who delivered him as a baby while his mother was in labor. He made his first dunk in his backyard when he was 12. The rim didn’t last long.
He has been a very good basketball player for JSerra. Last season, he had a 46-point performance.
But football is the sport he intends to master. He came in as a blank sheet last season and tries to learn every day. He had 2 1/2 sacks in his first season.
“He’s growing as a football baller,” Nickerson said. “He’s made tremendous strides this offseason. He’s going to get turned loose.”
Imagine being a quarterback and seeing Eboigbodin charging ahead with his size and agility.
“I’ve learned you’re fighting against time,” Eboigbodin said. “You got to go fast and get the quarterback before he passes. You got about three seconds.”
He enjoys the Friday night football atmosphere and is fueled by fans cheering.
“The football stands and fans are a different feeling,” he said.
He’s had so many people helping him and rooting for him during his stay. That’s because of his friendly demeanor. He might look intimidating, but his smile and willingness to participate in school gatherings propels others to immediately embrace him. He’s always looking to learn on and off the field.
“I’m excited to just get better,” he said.
And that’s what is exciting about Eboigbodin. He’s not a finished product, but the signs of progress and what he can do with his body on a football field have everyone predicting big days ahead.
LA28 hopes to raise the bar for the Paralympic movement when the Paralympic Games open in SoFi Stadium on Aug. 15, 2028. The city that already changed the Olympic movement by hosting the most commercially successful Games ever in 1984 could leave an equally indelible mark on the Paralympic movement.
“In the opening ceremony in two years’ time, we will be about to witness the Paralympic Games that can really put our movement in a higher step,” International Paralympic Committee president Andrew Parsons said, “in a higher position as a sport movement.”
While the Olympics were blossoming in L.A. in 1984, the Paralympics that year were hosted in New York and Stoke Mandeville, England in a patchwork plan that came to be known as the “Last-Minute Games” because a U.S.-based organizing committee failed to secure funding to host the Paralympic Games at University of Illinois Urbana-Champaign.
The LA28 Olympics and Paralympics logos are featured on a sign outside an event in 2024.
(Allen J. Schaben/Los Angeles Times)
Forty years later, the Paris Paralympics solidified the movement’s position as one of the largest sporting events in the world. The 2024 Paralympics sold 2.5 million tickets, the most for a Paralympic Games, and had a record 12,941 global broadcast hours. The overall live audience for the Paris Paralympics grew by 40% compared to 2021 and 117% from 2016.
Seeing the Paralympics leaves a lasting impression on fans. A Nielsen Sports study commissioned by the IPC found that 73% of people thought the Paris Paralympic Games positively changed their attitudes toward people with disabilities.
LA28 wants to build on that momentum.
“I really would love to see the change of perception of what people with disabilities can do, but also most importantly see the athletes perform,” said Ileana Rodriguez, the LA28 vice president of Paralympic strategy and relations and a 2012 Paralympic swimmer. “Because oftentimes we forget the sport side of the athletes and put the disability in front, and I really hope that this is reversed in our Games.”
American Alexandra Truwit competes during the women’s 400-meter freestyle during the Paralympics on Sept. 5, 2024, in Nanterre, France.
(Adam Pretty / Getty Images)
It didn’t take long for Ali Truwit to see the Paralympic standard. The former Yale swimmer had always respected Paralympians for their grit, courage and strength, but after she lost the lower part of her left leg in a shark attack in 2023, Truwit had her own Paralympic awakening.
She realized that to even make the U.S. team for Paris, she needed to swim faster with one leg than she did with two.
“A lot of people would come up and say, like, “Oh well you could do the Paralympics,’” said Truwit, who had 15 months between having her leg amputated on her 23rd birthday and the opening ceremony of the Paris Paralympics. “I’m like, ‘Well, you can’t just do the Paralympics actually!’ It’s elite and it’s fast.”
Her American record time of 1 minute, 8.98 seconds seconds in the S10 100-meter backstroke at the 2024 U.S. Paralympic swimming trials was faster than the times she was putting up to be recruited for Division I schools. Also the U.S. record holder in the S10 400-meter freestyle (4:31.39), Truwit won silver medals in both races in her first Paralympic Games.
But as she starts training for 2028, Truwit knows even her national record times might not be enough to get on the podium in L.A.
In Paris, 175 world and 218 Paralympic records were broken across 22 sports. The quality of the performances are better than ever, Parsons, the Paralympic president, pointed out. Athletes have become more refined with their training techniques.
“If you raise the expectations for what high performance is, for what an athlete is, then gosh, that’s just going to open up so many more opportunities,” said Brent Hardin, an associate professor of kinesiology at the University of Alabama and director of Alabama Adapted Athletics. “The Paralympics has the ability to do that like no other sporting event in the world for athletes with disabilities.”
The last time the Summer Paralympics were in the United States, in 1996, the event was run by a separate committee from the Olympic organizers. Disorganized and under-publicized, the event was underwhelming, Hardin said. Since 2002, organizing committees have been required to put together joint bids to host both the Olympic and Paralympic Games, using the same venues, facilities and infrastructure.
LA28 will rely on mostly existing venues for both the Olympics and Paralympics, relieving many of the biggest headaches that have plagued previous organizing committees. But hosting 4,480 Paralympians in one village is an especially unique challenge.
UCLA students walk up and down stairs on a campus that features many hills. The school is scheduled to host the athletes’ village for the 2028 Paralympics.
(Al Seib/For The Times)
LA28 will host the Olympic and Paralympic villages at UCLA. While renowned for its red brick buildings and lush green lawns, UCLA’s campus is also notorious for its steep hills. In 2025, two students who used wheelchairs sued the university and the UC Board of Regents for discrimination, citing, in part, elevators that are often out of service, insufficient signage and dangerous conditions in pedestrian paths of travel.
Rodriquez recognized the campus’ geographical challenges that organizers can’t change. LA28 said in a statement it is focused on building upon UCLA’s existing accessibility foundation while exploring additional modifications and services to support Paralympic athletes and team officials, such as temporary ramps and modified restrooms. Construction is expected to begin this year, trying to minimize impact on normal campus activities.
“One solution is not going to solve it for everyone, but a system of different ones hopefully will for most of them,” said Rodriguez, an architect consulted on previous Games before working with LA28. “We’re aiming, of course, for 100% of the users, but it doesn’t mean that there might be challenges in some points.”
The Games will also need to accommodate millions of fans traveling around Southern California. The FIFA World Cup tested the transportation system and it was largely a success, but it presented problems for some fans.
Kate Scott, founder of Only Everywhere, a directory providing accessibility information about more than 400 venues in California, heard from fans who paid hundreds of extra dollars for accessible parking and a shuttle to the stadium only to learn later that a free shuttle option was available. Fans struggled to secure wheelchair accessible seats, especially after they were sold at astronomical resale values, and couldn’t get clear answers about what accommodations would be available in the stadium.
Fans pack SoFi Stadium during a World Cup match between the United States and Paraguay on June 12.
(Kelvin Kuo/Los Angeles Times)
SoFi Stadium aced the physical infrastructure with working elevators, wheelchair escorts and accessible seating with clear sightlines on every level. It was mostly an information gap that left fans wanting.
“It’s not a problem if you say there’s no way to get to the cafe on the second floor. It is a problem if they find that out at the bottom of the stairs,” Scott said. “They can plan ahead if you just give them the information. It’s not about perfection. It’s about telling people what to expect.”
Of the 400 California venues Scott has added to Only Everywhere’s directory, more than half don’t publish anything online about accessibility. Only 7% cover accommodations for mobility limitation, hearing disability, vision impairment and sensory disabilities.
Disability advocates hope the Paralympics can lead to improved access to social services and structures for people with disabilities during and after the Games.
“Not just a one-in-every-four-years kind of event,” said Juliann Anesi, an associate professor of gender studies at UCLA and an affiliate faculty member with the disabilities studies department.
After the 1984 Olympics helped fund youth sports in L.A. for decades with a $230-million surplus, the 2028 Games have already jump-started adaptive sports opportunities as part of the PlayLA program.
Hunter Woodhall from the U.S. wins the men’s 400-meter T62 final at the 2024 Paralympics on Sept. 6, 2024, in Paris.
(Thibault Camus / Associated Press)
The program is run by L.A. Department of Recreation and Parks and will have 12 adaptive sports (adaptive archery, athletics, kayaking, skateboarding, lacrosse, pickleball, para swimming, blind soccer, goalball, para surfing, wheelchair basketball and wheelchair tennis) for the 2026-27 season. The program is on track to reach 5,000 total adaptive sports program enrollments in 2027, LA28 said.
“LA28 is an opportunity not only to think about people with disabilities as part of [society], but instead to really reshape the conversation around disability, especially in sport,” Truwit said. “… We don’t look at Paralympians as an inspiration or as something where they’re overcoming a limitation, but rather as just part of human diversity and potential.”
At the halfway mark of the Olympic quadrennial, Truwit is already dreaming about L.A. The Connecticut native can picture the opening ceremony in SoFi Stadium, where she will be flanked by her fellow American Paralympians. That group could even include several athletes who received grants from her nonprofit Stronger Than You Think, which helps provide prosthetics to girls and women experiencing limb loss. Being at the Paralympics together would be a dream, Truwit said.
Parsons will open what will be the final Paralympic Games of his IPC presidency. He envisions going out on a high note.
“The best Paralympic Games,” Parsons said of his 2028 expectations, “ever.”
