“It’s my favorite city in the world,” says the comedian, musician and actor best known for the beloved sketch comedy series “Portlandia” and for “Saturday Night Live.” “It has a really strong sense of community for such a giant city,” he adds, noting the recent celebration surrounding the new Los Angeles County Museum of Art and Metro’s D Line extension.
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Armisen enjoys being behind the wheel, which is how he first noticed Hulu’s “Deli Boys,” where he plays casino boss Max Sugar in the show’s second season.
“Strangely, I was a fan before I was a fan of the show,” he says. “I was a fan of the billboards. I saw ads for it, and I was immediately curious. Like, ‘What is that? Why is it called ‘Deli Boys’? Who are these people?’ There was something about the three leads, a sort of chemistry or charisma, that I wanted to be a part of.”
For him, the perfect Sunday involves traversing the city, checking out record stores and visiting museums like the Museum of Jurassic Technology in Culver City. “I fell in love with it as its own art piece,” he says. He also enjoys going to live shows, sometimes performing and spending time at home with his family. For him, the ideal day in L.A. “is a mix of all of those things.”
The one place you won’t find the sun-averse actor is the beach. “Los Angeles is a great place for people who hate the sun,” he says. “There’s a goth quality to it. So many of the best punk bands came out of Los Angeles.” He appreciates that you can avoid the sun by staying in your car. “It feels like I get to confront my hatred for the sun without being in it,” he says.
This interview has been lightly edited and condensed for length and clarity.
5 a.m.: Early rising
I love Los Angeles so much that sometimes, when I wake up, it’s still dark outside. So it’ll be, like, 5 or 6 o’clock in the morning, and it’s dark, but the palm trees are silhouetted in the sky. Right away, I’ll have granola or Grape Nuts with almond milk and blueberries. And then I just like to sit in silence while it’s still dark out, while sipping two mugs of coffee. If I do go out, the Village Bakery and Cafe on Los Feliz Boulevard is really nice for breakfast or if you have to meet someone. There is a scramble there that I really like. But lately, I’ve also been getting granola with yogurt.
8 a.m.: Make it a work day in Elysian Valley, a.k.a. Frogtown
I like to make every day a work day. So even if I have a day off, I still try to do one work-related task. I have a music-and-writing space in Frogtown where I’ve had an office for a while. I had one there when we wrote “Portlandia.” I’ve got my drums set up, and I usually like to get things ready for touring. I have all these flight cases and drums there and I get all my equipment together. I’ll just clean them up a little bit. Sometimes I practice — not practicing to get my rudiments up for drumming — but just because I enjoy drumming so much.
11 a.m:. Lunch in Frogtown
There are a few places in Frogtown where I like to have lunch. There’s a vegan cafe near me called Just What I Kneaded, which is great, or the Spoke Bicycle Cafe, which is a little down the river. I like the chickpea farro bowl with Brussels sprouts and tempeh. Sometimes I’ll go to Wax Paper and order the Kai Ryssdal sandwich. Their sandwiches are really good and are named for National Public Radio hosts. We have to embrace being pretentious. I think in these cafes, we should talk about the Velvet Underground. It’s almost like cosplaying. Like, let’s really be Silver Lake. Well, you know, with bicycles.
1 p.m.: Run errands at the Americana at Brand
I can’t just stay in Frogtown, so I’d next go to the Americana at Brand outdoor mall because sometimes, when a place is devoid of all those pretensions, it’s actually very relaxing. You can walk around and get a lot of errands done. I love the sushi place the Bar — Hand Rolls by Seabutter.
2 p.m.: Take a drive through Griffith Park
I love driving. That’s one thing that I love about Los Angeles. Everywhere I go, I get to be in my car. I like listening to the radio. It’s just a peaceful place to be. There’s something special about it, especially as day turns into dusk. I like going down Sunset Boulevard or Beverly Boulevard. I also love driving Crystal Springs Drive through Griffith Park. It is the prettiest drive. The speed limit is nice and slow. In the summer, there’s a free Shakespeare festival in that same park. I haven’t made it yet because I’m usually traveling, but I’ve always wanted to go.
3 p.m.: Hit the record stores
I know it’s a cliché for me to say I go to record stores, but I do. I like going to Amoeba Music in Hollywood. I’ll get any reissue, like a new box set. And there’s always something that’s just come out. Sometimes I’ll go to a musical instrument store called Caveman Vintage Music in Lincoln Heights just to pick up a few things that I’ll need, you know, drumsticks or whatever. Or sometimes I’ll get a weird little amp or keyboard.
6 p.m.: Sushi dinner in Glendale
If I go out to dinner, I like going to Sasabune in Glendale. It’s on the third floor of a building near the Americana. In my opinion, Los Angeles has the best sushi in the world. Ventura Boulevard in the Valley is amazing, but this place is my favorite restaurant in the world. Wow. I love it.
8 p.m.: See live music
Once a month, although not usually on Sundays, I play covers at a bar and record store called Permanent Records Roadhouse in Cypress Park. Sometimes I do stand-up at Largo at the Coronet. But I love to see live bands. The Bellwether and the Teragram Ballroom are great venues to see bands. Those two, I’d say, are my two favorites to go to because I like a little bit of space, because I can’t be up at the front. You know, I’m so famous that bands stop playing [laughs] when they see me. No, I’m just a patron. I’m a fan. TheGreek Theatre is a fantastic place to see live music. And the Ford amphitheater! The last time I went, I thought, ‘Why don’t I come to every show here?‘ because it’s the perfect size. It’s outdoors. It’s not gigantic. Every seat is good. It’s really, really great. I saw Neil Young there. I saw Paul McCartney at the Fonda Theatre in March, and he was unbelievable. I love that he played there. I like the Hollywood Bowl, obviously, but everybody knows that.
MEXICO CITY — FIFA president Gianni Infantino described Mexico City Stadium as a venue “blessed by the gods” and a “true cathedral of soccer.”
Azteca Stadium, as most people know it, is steeped in soccer history and is now the only venue to host three World Cup opening ceremonies. But the Mexican national team had never much World Cup success at the venue.
On Thursday, spurred on by most of the 80,824 fans in attendance and forwards Julián Quiñones and Raúl Jiménez, Mexico managed to defeat South Africa 2-0 and securing its first opening match victory.
Mexico opened the scoring in the ninth minute when Quiñones capitalized on a defensive error by South Africa and fired a shot down the middle, between the legs of goalkeeper Ronwen Williams. The striker, a top scorer in the Saudi Pro League, immediately ran off to celebrate with the bench, marking the first goal of the tournament. The crowd responded by throwing beer into the air.
Mexico continued to press with numerous chances in the first half, including another shot by Quiñones that hit the post and another great save by Williams, who was South Africa’s best player.
“We were far superior in the first half; we could have been up 3-0,” Mexico coach Javier Aguirre said.
South Africa was reduced to 10 men just as the second half began when Sphephelo Sithole brought down Brian Gutiérrez, who was heading toward the goal unmarked. Brazilian referee Wilton Sampaio showed a red card.
“We played well; there were moments when Mexico didn’t know what to do and our organization was very good,” said Hugo Broos, South Africa’s coach.
It seemed the match was going to be easier for the Mexicans with South Africa short-handed, but fans began to boo the Mexican players after they stopped attacking and appeared nervous.
Seeing his players’ lackluster performance on the field, Aguirre responded with substitutions: bringing on 17-year-old Gilberto Mora, a fan favorite, as well as Luis Chávez, to reshape the midfield.
Mexico’s Raúl Jiménez cries while hugging teammate Roberto Alvarado after scoring against South Africa in Mexico City on Thursday to open the World Cup.
(Natacha Pisarenko / Ap Photo/natacha Pisarenko)
“[It was] the start of the World Cup. It’s an intense atmosphere,” Aguirre said.
“In 25 games, we’ve never had players with cramps — today we had three. It was a very intense, emotional state. It shows that the setting weighed on them a little. Not on everyone.”
Shortly after the substitutions, Roberto Álvarado crossed the ball from the right to Raúl Jiménez, who headed it past South Africa’s goalkeeper, Williams, in the 67th minute.
South Africa was reduced to nine men after Themba Zwane struck Álvarado off the ball. After consulting the video assisted referee, the official gave Zwane a red card.
“I think you can accept the first red card,” said Broos. “I think the second one is debatable. It was a bit harsh on the referee’s part. We have two players who won’t be able to play in the next match.”
After the second red card, Mexico took its foot off the gas again and was met with whistles from the crowd, who were hungry for more goals.
Mexico and South Africa faced off in front of 80,824 fans at Mexico City Stadium, more commonly known as Azteca Stadium, on Thursday to open the World Cup.
(David Ramos / Getty Images)
Mexico’s César Montes was sent off in stoppage time for bringing down Khuliso Mudau outside the box as he was heading toward the goal.
With the win, Mexico leads its group with three points and waited to see the result of South Korea versus the Czech Republic in Guadalajara later Thursday. South Africa has zero points. Mexico’s next match is in Guadalajara on June 18 against South Korea, while South Africa faces the Czech Republic in Atlanta.
“We need the next three days to get over the disappointment and fatigue,” Broos said, before addressing his team’s mere two shots on goal. “We have to work on our offense because it wasn’t enough today.”
The match marked the debut of Mora, the youngest player in the World Cup.
“For his first game, he didn’t disappoint,” said Aguirre.
Krutzsch says the event was designed to be accessible. “It was critical to make sure that there were affordable opportunities for the community and fans of the World Cup, or any of these countries that are participating, to have a place to come be part of these official celebrations,” he says.
Tickets for FIFA Fan Festival are $10 including fees, with free admission for children ages 12 and under when accompanied by a paid adult. (There is a limit of three free child tickets per one adult ticket purchase.)
TikTok content creator Carlos Maciel plays a game at the DoorDash booth during a media preview of the FIFA Fan Festival.
(Allen J. Schaben / Los Angeles Times)
Meanwhile, reserved club seats and loge boxes are $30 including fees. These premium tickets offer access to shaded lounge areas, enhanced seating, food and beverage offerings and elevated viewing locations overlooking the festival grounds and match screens.
Tickets can be purchased online or at the Coliseum box office on event days when the festival is not sold out. The box office is located at Gate 29. General admission entry will be at Gates 1, 4 and 28.
LA28 reserved the first Olympic tickets for locals. To kick off the second round of ticket sales, it’s a sponsorship connection that could help fans get to the front of the line.
Before the second Olympic ticket drop officially begins Aug. 10, LA28 announced Wednesday there will be a presale for Visa cardholders that will run from July 29-31.
Visa has sponsored the Olympics for 40 years and is the only credit card accepted for payment in Olympic zones. For a chance to be selected for the presale, fans need to first confirm their status as a Visa cardholder. Fans who have already registered can log into their existing LA28 ticket account, check the “Visa presale box” and save changes. New registrants must select the Visa cardholder option during the registration process. All ticket sales during the presale must be completed with a Visa credit card.
Fans can register for the second ticket drop at tickets.la28.org until July 22. Those who already registered for Drop 1 but weren’t selected or didn’t purchase their full 12-ticket allotment do not have to sign up again and are automatically entered into the lottery for Drop 2, which will run from Aug. 10-20.
Fans who are randomly selected for the Visa presale will be notified of their time slot on July 27. Those who aren’t selected for the presale remain eligible for a time slot in Drop 2. Email notifications for Drop 2 time slots will go out from Aug. 6-7.
The second ticket drop will offer tickets across all Olympic sports at a range of price points, LA28 said in a statement, subject to inventory availability. Prices start at $28 for individual tickets, but of the total 1 million $28 Olympic tickets, half were scooped up during the Drop 1 presale that was reserved for locals living near venue cities in Southern California and Oklahoma City.
April’s ticketing debut frustrated fans who were surprised by high prices, a 24% service fee on every ticket and limited inventory for key events. Still, LA28 sold 4 million tickets across 85 countries, a historic number that had International Olympic Committee officials giddy for the potential of the 2028 Games.
“What we thought we were going to sell, and what we thought we were going to get for people who registered for interest, we exceeded those by magnitudes,” LA28 Chief Executive Officer Reynold Hoover told The Times on June 4 after IOC members visited L.A. “We were able to set Olympic records in terms of sale, but I think the broader picture about all of that is people want to be a part of something really big and be part of something here in L.A., a part of history.”
LA28, the organizing committee behind L.A.’s first Olympics in 40 years, expects to generate $2.5 billion in ticketing and hospitality to support what has been advertised as a privately funded Games. The estimated $7.1-billion operations budget is also buoyed by $2.5 billion in expected sponsorship revenue. LA28 already has $2 billion in domestic partnership money.
NEW YORK — Donald Trump is set to be the first sitting U.S. president to attend an NBA Finals game, bringing strict security measures that will require New York Knicks fans to navigate an extensive safety perimeter around Madison Square Garden and an expected lengthy wait to get inside the building.
The security for Game 3 between the Knicks and San Antonio Spurs and the scene around the arena more closely resembled New Year’s Eve in Times Square, and for fans, it might seem more akin to a trip to the airport. They were asked to get to the game two hours early and will be required to provide a ticket to get past various checkpoints along with passing through a TSA-style magnetometer.
Trump’s appearance led the New York Police Department and Secret Service to establish a multi-block security perimeter around the arena, cancel a watch party outside and institute a no-bag policy for ticket-holders. Fans had gathered around the Garden to watch games during this playoff run, during which the Knicks have won 13 games in a row to reach the final for the first time since 1999 and move two victories from their first NBA title since 1973.
“The NYPD in coordination with the Secret Service made the decision for Game 3, where we have a presidential visit, that we could not support watch parties right outside of the Garden,” Police Commissioner Jessica Tisch said at a news conference Monday. “We are looking forward to bringing back watch parties for Game 4. But I think New Yorkers are used to presidents coming to town, and they understand that that generally means lockdowns of areas and that’s what you’re going to see tonight at the Garden.”
Trump has attended several major sporting events in his time as president, and the security measures have created major hassles for fans.
Thousands of fans missed the start of last year’s U.S. Open men’s singles final between Carlos Alcaraz and Jannik Sinner because of lengthy security lines. Even though the U.S. Tennis Association pushed back the start of the match by a half-hour, many fans still couldn’t get in because added measures meant that they had to go through screening not only when they arrived at the Billie Jean King National Tennis Center but again in front of the steps into Arthur Ashe Stadium, where Trump watched from a suite.
Asked his thoughts on Trump attending, Knicks center Mitchell Robinson said: “Cool, I guess. We can still get out there and play (no matter) who’s here and who’s not.”
Mayor Zohran Mamdani and other dignitaries are also expected to be at the game Monday night.
It was already hard enough for Knicks fans to get inside Madison Square Garden because of astronomical ticket prices. The get-in price for a ticket is higher than the average cost of monthly rent in New York, surging over $6,000. The best seats are tens of thousands of dollars. Mamdani said he bought his ticket for about $1,000 directly from Madison Square Garden.
The difficulty of seeing the game in-person has prompted fans to crowd bars, streets and watch parties all over the city. The watch party near the Garden has become a major event all through the playoffs, but with Trump attending, that event will be moved a few blocks away outside the security perimeter, at Bryant Park.
“We improvise,” said Knicks guard Jose Alvarado, who is a New York native. “We’re New Yorkers. We’re going to find a way to watch a game, and that’s what we’re doing.”
Whyno writes for the Associated Press. AP writer Brian Mahoney contributed to this report.
As soccer fans await the FIFA World Cup kickoff Thursday — and as criticism of the organization’s ticketing practices and social impact on local communities circulates across North America, where the games will be held — longtime aficionados want to remind the sports community of the real beauty beneath the game.
Last Friday at Espacio 1839 in Boyle Heights, visitors were greeted by the thumping bass of cumbia sonideras, earthy scent of leather trinkets and clothing racks featuring silky screen-printed soccer jerseys. The Latino-centric gift shop reached maximum capacity with a new pop-up art exhibit titled “El Fútbol Es del Pueblo,” featuring over 30 artworks that provide commentary on the global sport.
“It’s reclaiming the sport again, reminding folks that the essence of the game belongs to the people,” said Nico Aviña, owner of Espacio 1839. “With everything that’s going on with the World Cup, everybody’s giving FIFA credit, but I think that we need to reclaim that power. This is a people’s sport and it belongs to us.”
Nico Avina gets ready to start a soccer match at Mariachi Plaza at “El Futbol es del Pueblo,” a community soccer event hosted by Espacio 1839.
(Jill Connelly/For De Los)
Every four years, soccer fans around the globe go berserk over the World Cup, but in host cities like Los Angeles, the worldwide spectacle feels bittersweet and financially out of reach. Fans have paid thousands of dollars for non-premium seating at SoFi Stadium; this does not include parking, which is estimated to be about $250 near the venue.
“ I’m not interested in going into those games or paying these ridiculous amounts,” said Aviña. “It’s more about greed. It’s more about wealth extraction than anything else.”
That sentiment resonated with 42-year-old Antonio Rivera, a Bay Area local who recalled the excitement he felt as a child in Jalisco watching the 1986 World Cup, which Mexico hosted. He remembers his little toy bank shaped like Pique, the anthropomorphic jalapeño pepper that was Mexico’s tournament mascot.
“You hear stories of people going to the World Cup with their whole family. Now you can’t even get a ticket,” he said. “ It’s an important opportunity for people to talk about some of the discomforts that they may have with an organization like FIFA.”
Rivera was at Espacio 1839 on Friday accompanying his son, Marc Rivera, one of the youngest exhibitors, alongside his classmate Miguel Yanez. The tweens came down from Napa, Calif., to showcase their acrylic comic-strip painting featuring Mexican soccer player Alexis Vega, who channels his Mesoamerican ancestors when scoring the victory goal.
Marc Rivera explains the meaning behind his painting on display at “El Futbol es del Pueblo.”
(Jill Connelly/For De Los)
“It’s important to expose our next generation and give them an opportunity to express themselves a little bit,” Antonio Rivera said.
Tijuana artist Vianney Harelly’s piece was hard to miss on the wall. It featured a bloody cross with the Spanish words for “soccer comes with blood and tears.” It also included headlines from articles regarding the Naupan artisans who were allegedly underpaid by Adidas and social-impact brand Someone Somewhere, during its work on the latest embroidered Mexican soccer kit.
“I wanted it to be a piece showing kind of the dark side of the World Cup, because there’s so many things that are buried underneath the whole spectacle,” Harelly said.
The 30-year-old said they are not interested in tuning into the World Cup activities because of the close relationship between FIFA President Gianni Infantino and President Trump. Human rights organizations have called on the FIFA leader to request that the Trump administration declare a moratorium on ICE raids during the soccer tournament; SoFi stadium workers threatened to strike if agents aren’t kept out of the venue.
Artwork on display at “El Futbol es del Pueblo.”
(Jill Connelly/For De Los)
“I know people want to be seen and celebrated and they wanna feel love,” Harelly said. “But I don’t want them to settle and think that the only option for them to feel love and be seen is through corporations that hate us.”
Gerardo Gómez looked mesmerized as he glanced at the wall. Some of his favorite pieces included a scarf that read “Siempre Antifascista” and a banner that featured a masked Indigenous soccer player with the words “Futbol Libertad.”
“I think a lot of us here love the sport, but we are against FIFA,” Gómez said. “What you’re seeing here is a representation of the people’s struggle that comes with the sport.”
The 46-year-old said the soccer organization, as well as the Olympic Games, have a history of displacing marginalized communities; for example, ahead of the 2014 World Cup and 2016 Olympic Games in Brazil, at least 19,000 families were displaced to make way for sporting infrastructure.
That’s why he’d rather put his focus on the Homeless World Cup, an annual international street football tournament that advocates an end to homelessness globally. Players are individuals who have experienced some form of homelessness or social exclusion in their life.
“People that came together [for the Homeless World Cup] recognized that soccer brings people together,” said Gómez. “And it’s the most beautiful thing I have experienced.”
A soccer match at Mariachi Plaza on June 5, 2026.
(Jill Connelly/For De Los)
As the sun went down, the crowd shifted over a block to Mariachi Plaza where a 3-vs.-3 cascarita, or scrimmage, began on the pavement. Onlookers gathered around the makeshift field, which had no clear outer bounds, as the pulsating drumming and anti-ICE chants led by Lxs Tigres del NorthEnd (an independent LAFC supporter group) filled the air.
“It’s very bittersweet,” said 30-year-old Claudia Llontop. “With families being deported.”
Llontop, who grew up watching the World Cup, arrived at the pick-up match with her two children — and even documented her journey getting there on TikTok to her more than 50,000 followers. She had been trying to find ways to kick a ball around when she heard about “El Fútbol Es del Pueblo,” which allowed her to put on a red mesh jersey and run like the wind.
“This is for single moms, this is for kids, this is for high schoolers,” said Llontop. “ I think this alone is a lot more powerful than FIFA, because this is us.”
NEW YORK — Donald Trump was booed loudly by fans inside Madison Square Garden when he was shown on video screens during the national anthem prior to Game 3 of the NBA Finals on Monday night.
Trump was shown for several seconds giving a military salute. The boos ended when the U.S. flag followed him on the screens, and fans cheered when New York Knicks players were shown. Mentions of the San Antonio Spurs also elicited loud boos.
Trump is watching from Knicks owner James Dolan’s suite, along with granddaughter Kai, personal adviser Boris Epshteyn and Cabinet secretaries Lee Zeldin, Sean Duffy and Doug Burgum. He is the first sitting president to attend an NBA Finals game.
Trump’s Marine One helicopter flew from his home in New Jersey and landed near Wall Street before his motorcade made its way up through Manhattan and to the arena roughly an hour before tipoff. He encountered a handful of people making rude gestures, and outside the area, one group held signs saying “Trump must go.”
He settled into Dolan’s suite shortly afterward.
During the afternoon before Trump’s arrival, the New York Police Department and the U.S. Secret Service set up a large perimeter surrounding Madison Square Garden. Fans lined up to get inside the arena more than four hours before tip-off, in a scene more closely resembling New Year’s Eve in Times Square than the usual leadup to a basketball game.
They were required to provide a ticket or pass to get past various checkpoints, along with going through a Transportation Security Administration-style magnetometer. Secret Service personnel and police were positioned at every corner and in large numbers. Daily commuters, tourists and fans were all confounded at various times as they tried to maneuver the security.
New Yorkers forced to adjust
After traveling from his new home in Florida for the game, Knicks fan Greg Weldon said the main inconvenience he’s faced so far has been the lack of information.
“We’ve asked so many cops, Secret Service, guys with machine guns, what to do, where should we go,” he said. “Nobody knows.”
Knicks coach Mike Brown and Spurs counterpart Mitch Johnson downplayed any concept of being inconvenienced by the closures and enhanced security because of Trump.
“There’s a lot going on, and I’d much rather be a part of it than not,” Johnson said.
With security stepped up, a watch party outside was canceled, and ticket holders were not allowed to bring bags inside the Garden. Fans had gathered near the arena to watch games during this playoff run, during which the Knicks have won 13 games in a row to reach the Final for the first time since 1999 and move two victories from their first NBA title since 1973.
“We are looking forward to bringing back watch parties for Game 4,” Police Commissioner Jessica Tisch said at a news conference Monday. “But I think New Yorkers are used to presidents coming to town, and they understand that that generally means lockdowns of areas and that’s what you’re going to see tonight at the Garden.”
Incidents heighten attention to Trump’s security
This is the latest major sporting event Trump has attended during his time as president, and the security measures have created major hassles for fans.
Thousands of fans missed the start of last year’s U.S. Open men’s singles final between Carlos Alcaraz and Jannik Sinner because of lengthy security lines. Even though the U.S. Tennis Assn. pushed back the start of the match by a half hour, many fans still couldn’t get in because added measures meant that they had to go through screening not only when they arrived at the Billie Jean King National Tennis Center, but again in front of the steps into Arthur Ashe Stadium, where Trump watched from a suite.
Federal law enforcement officials have been reexamining Trump’s security in light of three incidents in the past two years: a shooting at a 2024 rally in Butler, Penn.; the discovery of a man armed with a rifle as Trump played golf in West Palm Beach, Fla., later that year; and the recent shooting at the White House Correspondents’ Assn. dinner.
Asked Sunday his thoughts on Trump attending, Knicks center Mitchell Robinson said: “Cool, I guess. We can still get out there and play [no matter] who’s here and who’s not.”
New York City Mayor Zohran Mamdani and other dignitaries were also at the game.
It was already hard enough for Knicks fans to get inside Madison Square Garden because of astronomical ticket prices. The get-in price for a ticket is higher than the average cost of monthly rent in New York, surging over $5,000. The best seats are tens of thousands of dollars. Mamdani said he bought his ticket, which he said was standing room only, for about $1,000 directly from Madison Square Garden.
The difficulty of seeing the game in person has prompted fans to crowd bars, streets and watch parties all over the city. The watch party near the Garden has become a major event all through the playoffs, but with Trump attending, that event was moved a few blocks away outside the security perimeter, at Bryant Park.
“We improvise,” said Knicks guard Jose Alvarado, who is a New York native. “We’re New Yorkers. We’re going to find a way to watch a game, and that’s what we’re doing.”
SARATOGA SPRINGS, N.Y. — One thing about the Triple Crown: Fans do not get cheated, at least when it comes to the number of races on the big day.
Just as Churchill Downs did for the Kentucky Derby and Laurel Park did two weeks later for the Preakness, Saratoga Race Course has scheduled 14 races Saturday, highlighted by the Belmont Stakes. It’s the third and final year the Belmont will be run at the upstate New York track while Belmont Park is being rebuilt.
While Laurel started its card at 7:30 a.m. PDT, the Saratoga card follows Churchill’s schedule and begins at 8 a.m. PDT, or 11 a.m. on the East Coast. And, just like the other two headline races, the Belmont is scheduled to start at 4:04 p.m. PDT, or 7:04 p.m. EDT.
It will be the 13th race of the day, with official post time listed at four minutes past the hour.
The biggest difference Saturday from the Derby and Preakness is where fans can watch the races. Fox, not NBC, has the rights to the Belmont.
The first seven races can be seen on FS2 as part of the New York Racing Assn.’s regular “America’s Day at the Races” program, which starts at 7:30 a.m. PDT and continues until noon. The eighth race, at 12:25 p.m. PDT, also will be covered by that crew but will air on Fox.
The network’s official Belmont show begins at 1 p.m. and continues until 4:30. Curt Menefee again is the host, with analysts Tom Amoss and Richard Migliore, plus handicappers Jonathan Kinchen and Chris Fallica, with other contributors such as Charissa Thompson and Tom Rinaldi.
Thompson also will host an alternate telecast geared for horseplayers from 1-4:30 on FS1.
The last of Belmont’s 14 races is set to begin just past 5 p.m. PDT, or 8 p.m. in the East. But don’t worry … FS2 will carry that and it won’t interrupt the Belmont Stakes post-race coverage.
More than 20 years after Michael Jackson was acquitted on charges of child molestation — and two months since the global superstar’s record-breaking biopic skirted any mention of abuse allegations — a new Netflix docuseries brings his trial and the aftermath to the foreground.
“Michael Jackson: The Verdict,” a three-part documentary directed by Nick Green and released Wednesday, chronicles his 2005 trial in Santa Maria that began with a search raid of the pop star’s sprawling Neverland Ranch and ended with a jury finding him not guilty on 10 counts, including four counts of child molestation. At the center of the case was Gavin Arvizo, a then-15-year-old cancer survivor from Los Angeles.
Because recording was not allowed in the courtroom, the documentary relies heavily on archival footage from media surrounding the trial and firsthand accounts of key figures involved, including prosecutor Ron Zonen, Jackson family attorney Brian Oxman, journalist Diane Dimond, two trial jurors, and friends and supporters on both sides of the case.
The episodes also delve into the 2003 documentary “Living With Michael Jackson,” in which the pop star is interviewed by British journalist Martin Bashir, that sparked questions about his behavior, leading to the charges against Jackson. Jackson’s historically questionable relationships with children, the media circus surrounding the trial and the effect it had on fans, the family at its center and Jackson himself are explored, too.
Here are six key takeaways from “The Verdict.”
Jackson allegedly had his personal assistant order child pornography
One of the docuseries’ most revealing interviews came from Vincent Amen, a former Jackson associate who worked at Neverland Ranch from 2002 to 2003. He said he was put in charge of taking care of the Arvizo family during their stay at the property following media backlash from Gavin Arvizo’s appearance in “Living With Michael Jackson.”
At that time, Amen said, he “wholeheartedly” believed in Jackson’s innocence, especially because Jackson’s friend Frank Tyson, also known as Frank Cascio, a member of the family who filed a lawsuit against Jackson’s estate in April detailing alleged sexual abuse, vouched so strongly for him. Cascio, who met Jackson when he was 5 years old and later became his personal assistant, told Amen, “Michael would never do this with a child.”
Amen’s conviction shifted, however, after he discovered a disturbing magazine that apparently belonged to Jackson in Cascio’s possession.
“Frank cleaned out his house of anything that came from the Neverland Ranch. And he hands me a Nike bag,” Amen said in the docuseries. “I took the bag and I’m driving home, and I felt, ‘Something’s a little suspicious.’ And I said, ‘Let me take a look in this bag.’ I start taking videos to document this. I open the bag. I start looking, and I see a magazine.”
The series shows shaky footage of Vincent apparently finding a nudist magazine called “Naturally.” He flips to a video ordering section with titles circled in black marker, including videos called “Nudist Youth Weekend” and “Euro-Nudist Family.”
“I confronted Frank, I said, ‘Frank, what is this magazine? Because, you know, there’s circles around videos with naked children,’” Amen recounted. “He said, ‘That’s just a phase that Michael and I went through. He circled the videos that he wanted, I ordered them, and it was a phase that we went through.’ They watched them together.”
The Arvizo children called Jackson ‘daddy’ and had their own bizarre nicknames
Along with footage of the nudist magazine, Amen held on to other evidence of his time with Jackson and the Arvizo family, including a set of Polaroid pictures featuring Gavin’s mom, Janet, and younger brother, Star.
In one, Star points directly into the lens. It’s captioned, “You my daddy Michael.” Another photo of a smiling Janet and Star includes a handwritten caption from Janet that says, “Dearest loving Michael, we appreciate you being our family. What God brings together, no man can undo. We love you.”
Under a photo of Star with a cross-eyed expression, he wrote, “I love you, my daddy Michael. Your son, Blowhole.”
“These are the nicknames that Michael would give these young boys,” Amen said.
Bashir documentary marked a pivotal shift in the perception of Jackson
Martin Bashir in “Michael Jackson: The Verdict.”
(Netflix)
Though the first allegations of child molestation against Michael Jackson emerged in 1993, it was footage from Bashir’s “Living With Michael Jackson” that ignited public concern about Jackson’s relationship with Gavin.
In a pivotal scene from the 2003 documentary, Jackson brings Gavin in as an example of a child with cancer that he helped. Gavin, 13 at the time, leans his head on Jackson’s shoulder and holds his hand. Jackson tells Bashir that the two often share a bed at the Neverland Ranch, though in another scene he stresses that it’s not sexual.
“I realized that we had something that was hugely significant, but I didn’t realize the extent of the bombshell until the broadcast,” Bashir recalled in “The Verdict.”
“You can see it. You can look at that moment in the Martin Bashir documentary and you can actually pin the end of his life to that very moment,” J. Randy Taraborrelli, Jackson’s childhood friend and biographer, said in the docuseries.
Given Jackson’s stardom, news and tabloid media swarmed the scene of the trial along with droves of dedicated fans (and a much smaller contingent of detractors). And the archival footage from “The Verdict” shows the extent to which fandom and media frenzy influenced the proceedings.
Jackson’s fans stationed themselves throughout the route he’d take to the Santa Maria courthouse with signs showing their support, sometimes standing and shouting and other times driving alongside him and honking. Jackson had his director of security, Kerry Anderson, film these drives while he waved and engaged with supporters.
As many as 1,000 fans showed up on the first day of the trial, and many would line up starting at 5 a.m. for raffle tickets that would allow them to enter the courtroom. One fan interviewed for the docuseries, Sheree Wilkins, said she quit her job as a preschool teacher to move to Santa Maria for the trial. When the “not guilty” verdicts were announced, she fainted and had to receive medical attention.
TV news stations from around the world, including Taiwan, Japan and Mexico, sent crews to cover the trial.
Even inside the courtroom, where cameras were not allowed, enthusiasm for Jackson’s music could not be contained. Attendees recalled everybody, from the jury to the judge and even the prosecution, “swaying in their seats” when songs played as part of an evidence display.
“I remember me moving in time to his music,” prosecutor Ron Zonen said. “At one point Tom [Sneddon, the District Attorney leading the prosecution] jabbed me and said, ‘Would you stop moving your foot?’ ”
Jackson’s mental and physical health deteriorated
Mark Geragos briefly served as Jackson’s defense attorney.
(Netflix)
According to numerous interviews in “The Verdict,” Jackson’s substance use was problematic before and during the trial.
Jackson was not at Neverland during the raid that predated his charges. According to journalist Dimond, her sources said he was in Las Vegas “having wild parties.”
“There were cigarette burns in the leather couches and chairs. There were empty liquor bottles on every table. And this is where Michael Jackson had been for several days, entertaining young teenage boys, who all spoke German,” she said.
Later, Jackson’s well-publicized physical pain became the catalyst for controversy when he was hospitalized overnight, where he was allegedly given enough pain medication “to tranquilize an elephant,” and failed to show up on time for court the next day. The judge threatened to issue a warrant for his arrest if he didn’t make it to the courthouse within the hour, leading Jackson’s team to speed there at 90 mph.
Throughout the trial, stress took an enormous toll on Jackson, defense attorney Mark Geragos said in the docuseries.
“I watched him just disintegrate, literally disintegrate. The ingestion of substances was just astronomical. There was a time when I actually saw him in the fetal position on the floor, and I thought, ‘What do we do?’ I mean, you don’t want his death to be on your hands because you took some inaction,” he said. “We had genuine concerns whether he could even withstand a trial — physically, mentally.”
The prosecution’s case fell apart at the hands of key witnesses
“The Verdict” lays out, step by step, how the trial ended in Jackson’s full acquittal. One major contributor, the docuseries seems to argue, is the downfall of the prosecution at the hands of its own witnesses.
Defense attorney Tom Mesereau was an expert at discrediting witnesses, subjects told the filmmakers, but certain key witnesses, like Janet Arvizo, struggled to connect with the jury on their own.
“I called her Janet from another planet,” admitted juror Melissa Herard. “Sorry, but that’s just how she acted.”
Jackson’s ex-wife Debbie Rowe was meant to take the stand as a smoking gun for the prosecution but instead revealed no new information and came to Jackson’s defense.
The prosecution also partially hinged its case on past allegations of child sexual abuse against Jackson, but conflicting testimony caused these efforts to backfire. A former Neverland employee claimed to witness Jackson molest Wade Robson when he was a child, but Robson took the stand and denied anything happened.
“It’s hard to convince a jury when the subject of the act itself said it didn’t happen,” Zonen said.
In 2013, Robson reversed his stance and filed a lawsuit against the Jackson estate alleging sexual abuse. His allegations, along with those of James Safechuck, were the subject of the 2019 documentary “Leaving Neverland.”
Nothing could possibly generate a headline Tuesday night when the worst American League team — the Angels — played host to the perhaps the worst National League team — the Colorado Rockies.
Except. . .
This.
A fly ball conked Angels right fielder Jo Adell on the head and bounced over the fence for a home run, reminding fans of José Canseco’s similar gaffe 33 years ago.
The ball caromed back into the outfield and Rumfield momentarily stopped at second base. But the umpires confirmed the home run, coupling Adell with Canseco in numerous social media posts.
Canseco, the steroids-fueled, defensively challenged left fielder of the Texas Rangers, made a similar blunder on May 26, 1993, when a ball hit by Cleveland’s Carlos Martínez bounced off his head and over the wall.
Mike Trout presumably has witnessed every possible blooper, blunder and boo-boo in 16 seasons with the woeful Angels. The center fielder stood only a few feet from Adell when this one occurred and did not make himself available for comment afterward.
To his credit, Adell faced reporters.
“It looks like I’ve never played in the field before, which is disappointing, because it’s beyond the truth,” he said. “I’m the only one that really knows what happened. I was out there, and it happened to me, so it is what it is.
“It was kind of the icing on the cake, because I was [expletive] all the way around the whole day today.”
Adell was hitless in four at-bats, striking out twice, in the 8-2 loss that dropped the Angels to 23-39, the worst record in the AL.
The play was emblematic of Adell’s seven-year career with the Angels, who made him a first-round draft pick in 2017. At first blush, his lifetime Wins Above Replacement of 0.3 would indicate that he’s little better than the fictional minor league “replacement player” to which MLB players are compared in calculating the statistic.
Yet Adell’s physical tools and occasional highlights scream stardom. He shouldn’t be an ordinary Jo. The antithesis of the embarrassing episode Tuesday night came less than two months ago when he robbed the Seattle Mariners of three home runs in one game.
“It was the Jo Show,” Angels manager Kurt Suzuki said at the time. “This guy works as hard as anybody I’ve ever been around. His work ethic, attention to detail, his desire to improve every single day. To see him do that, I don’t believe you’ll see that again.”
Suzuki, who was Adell’s teammate in 2021 and 2022, likely never thought he would see a fly ball bounce off the outfielder’s head and into the stands, the Jo Show shifting to Oh, No!
“I saw the play, but for me, Jo’s made great strides defensively from when I played with him,” Suzuki said Tuesday. “And obviously, he had the night he robbed three home runs. It was a tough play tonight, but at the same time, the strides that he’s made defensively have been great.”
Adell was considered a defensive liability early in his career and was saddled with a four-base error in 2020 when a fly ball hit his glove and went over the fence. But he steadily improved and became a Gold Glove Award finalist in 2024.
That didn’t stop the “Tarps Off” throng of shirtless fans at Angel Stadium from chanting Adell’s name after the gaffe against the Rockies. For his sake, they likely will revert to imploring Angels owner Arte Moreno to “sell the team” soon enough.
Adell might have to stay away from social media forever, but he would like to forget the ball bouncing off his head as soon as possible.
“That’s what we have to do,” he said. “I mean, there’s really no other way around it. Let it fester and tumble over, but these are plays I’ve made hundreds and thousands of times. I’ve got to just keep going, and as a team, we’ve got to keep going.”
Brooke McCree, a 22-year-old recent UCLA graduate, is the first to admit she’s been going to the movies a lot less.
Back when Regency operated the local Village and Bruin theaters in Westwood Village, she would often take advantage of the student discount and see as many movies as possible. But in the two years since the theaters closed, she said moviegoing for many UCLA students has become inaccessible.
“At UCLA, it’s been rough because I’ll have to walk really far or take the bus [to the movies]. There’s nothing really nearby,” said McCree, who recalled fond memories of seeing movies like “Madame Web” and a “Hunger Games” prequel in a dense crowd of excited college students. “I was pretty devastated when it initially closed.”
There is still hope for the Village Theatre, which recently received a breath of new life thanks to some of Hollywood’s biggest names.
The event was reportedly the first of a limited number of premieres and screenings planned for this summer to support a 12-month renovation set to begin this fall.
A representative for Reitman declined to comment on the plans.
Nissan GT-R NISMO sports cars are seen outside the Fox Westwood Village Theatre, promoting the “Gran Turismo” movie in 2023.
(AaronP / Bauer-Griffin / GC Images )
The $25-million restoration, which organizers previously told The Times would be completed next year, includes plans for a restaurant, bar, gallery and a multipurpose space in the lobby for filmmakers and hosting premiere-related events.
Last year, the coalition of directors announced that American Cinematheque would operate the theater, hosting special screenings of new releases and repertory titles and conversations with filmmakers. The film non-profit already runs Santa Monica’s Aero Theatre and co-programs both the Egyptian Theatre in Hollywood and the Los Feliz 3.
Historically, the neighborhood has been a tricky market for businesses, said Jonathan Kuntz, a former lecturer at the UCLA School of Theater, Film and Television. He worked in the area for nearly 40 years and saw much turnover among local businesses due to high rents and inadequate parking.
“We’ve had some great things, like bookstores and eateries that have flourished sometimes for a decade or two, but it faded out,” Kuntz said. “[The theater] will certainly help Westwood if it is a success.”
For that to happen, Kuntz said, 1400-seat theater will need to screen a regular supply of films to a diverse customer base, including nearby students that have long been among its most frequent customers.
Many current UCLA students are already eagerly anticipating the theater’s reopening, said Ingrid Fan, a senior at the university majoring in public affairs.
“It’s been a bummer to have it closed for so long,” said Fan. “My friends and I always talk about how we just wish it opened sooner.”
While the theater’s renovation timeline won’t be complete before she graduates, she’s certain that other students will make good use of it when it reopens.
“Westwood is a college town, and we are always looking for a new source of community. It’s a space a lot of students would definitely flock to,” Fan said.
Broxton Avenue in Westwood Village during one of UCLA’s First Thursdays community events.
(Myung J. Chun / Los Angeles Times)
A historic movie hub
The university and its surrounding village, including the theater, were developed simultaneously throughout the 1920s and 1930s. Designed by Percy P. Lewis, the Westwood Village Theatre originally opened as a part of the Fox Theatres chain in 1931.
Despite launching during the Great Depression, the Westwood Village Theatre had a prime location working in its favor.
Westwood was imagined as a satellite town in West L.A. that would eventually support the growing UCLA campus. The neighborhood became known as the third major movie theater hub, behind downtown and Hollywood. In the 1920s, when the Chinese and the Egyptian theaters opened on Hollywood Boulevard, Westwood was next in line as a booming premiere destination.
“It was much more convenient to those folks than going to downtown Los Angeles, or even to Hollywood,” Kuntz said.
This was an era of moviegoing when premieres were essential to a movie’s box office success, drawing substantial marketing opportunities. The volume of films being produced at the time made it necessary to have multiple premiere-ready theaters around L.A., Kuntz said.
A “Terminator” poster is unveiled at the world premiere of “Terminator 3: Rise of the Machines” in 2003.
(Robert Mora / Getty Images)
Over its 95-year history, the venue has been remodeled a handful of times, including in the 1950s when television became a mainstream medium. Soon, multiplexes emerged, which put the Westwood Village location at a disadvantage. To this day, the theater can only show one film at a time.
In the 1970s, the venue joined the Mann Theatres chain, and in 1988, it was designated a historic cultural monument.
The ticket booth at the Regency Bruin theater in Westwood Village all boarded up, as seen on the afternoon of Nov. 3, 2020.
(Carolina A. Miranda / Los Angeles Times)
Regency continued to operate the two locations until its lease ended in 2024. Although the group of Hollywood directors was quick to bid on the Village (the Bruin was not included in the deal), the theater has remained closed since then, with the exception of the recent Billie Eilish premiere.
“A lot of people in Hollywood want to preserve at least some of what made classic Hollywood successful, like the big screen experience,” Kuntz said. “These folks are the ones who could afford to buy a movie house or two, program it and keep that tradition alive.”
L.A. Times staff writers Josh Rottenberg and Meg James contributed to this report.
Three weeks ago The Times published an article in which general manager Perry Minisian said the Angels are “very competitive” and “our best baseball is in front of us.” He then cited run differential and team ERA as examples. After getting swept by the Dodgers by a combined 31-3 the Angels had the worst run differential, worst won/loss record and are at or near the bottom in all pitching and hitting categories in MLB.
Since owner Arte Moreno believes that “winning is not a top priority,” he must be very pleased with both the work of his GM and the team’s performance so far this season. That the three games against the Dodgers were sold out was not because of fans’ desire to see this “very competitive” Angels team.
Rob Nelson Dana Point
The Angels’ ultimate indignity is its own hometown newspaper doesn’t regard it highly enough to staff its games with a full-time writer. The Angels are irrelevant in Southern California and the owner isn’t self aware enough to realize it.
Ron Yukelson San Luis Obispo
I just wanted to give praise to the Angels TV and radio broadcast teams. Even with the Angels having the worst record in baseball, and having suffered 10 straight losing seasons, the broadcast teams approach the games professionally and always with a positive attitude. As a lifelong Angels fan, it always reminds me of that saying “hope springs eternal.”
Police in Budapest are studying camera footage to identify supporters fighting before Saturday’s Champions League final between Arsenal and Paris St-Germain.
A police statement said the incident occurred in the early hours of Saturday morning.
Footage emerged on social media showing what was said to be about 30 supporters of each club brawling and lighting flares.
“Several fans got into a fight on May 30, 2026, at around 00:20 in Budapest’s 7th district, on Kiraly Street,” a police statement said.
“The BRFK 7th District Police Department has initiated proceedings against unknown perpetrators for the crime of gang violence, within the framework of which the camera recordings are also being analysed.”
Nearly 4,000 police officers will be deployed across the Hungarian capital for the Champions League final, with tens of thousands of fans expected to travel to Budapest without tickets.
On Tuesday, Hungary’s deputy national police chief Zoltan Janos Kuczik said: “This will be the largest single-day police deployment in Hungary’s history.”
It was described as a “high-risk event” with security preparations beginning more than a year ago.
Two Portuguese and a British man were arrested on Friday following a fight at the Champions League fan festival site and charged with disorderly conduct.
Police said a British man who climbed on to the roof of a parked car and damaged the vehicle was also arrested.
The prodigal “Daughter From Hell” returns: Gracie Abrams just announced her upcoming tour, and it includes four nights in her hometown of Los Angeles.
The 64-date Look at My Life tour hits arenas across North America and Europe starting Dec. 2 in Denver, before the singer lands in L.A. later that month. Abrams will take the stage at Inglewood’s Kia Forum for four nights: Dec. 14, 18, 19 and 20. The North American leg of the tour concludes in Brooklyn in March, and she kicks off the European leg in April.
The tour will follow the release of Abrams’ third studio album, “Daughter From Hell,” which drops July 17 via Interscope Records. Abrams took to Instagram to share her upcoming tour dates, teasing fans with the caption, “we’re baaaaaack.”
At the Kia Forum, Abrams will be supported by openers Rachel Chinouriri and Holly Humberstone, both popular British singer-songwriters. Fans can sign up on Abrams’ website for access to the June 2 pre-sale for all dates before tickets go on sale to the general public June 5.
Abrams most recently played in L.A. as part of a three-night residency at the Kia Forum in August 2025 for the Secret of Us Deluxe tour. There, she brought out surprise guest Audrey Hobert, Abrams’ longtime best friend and collaborator. Abrams’ other frequent collaborator, musician and producer Aaron Dessner, co-wrote and produced her latest single, “Hit the Wall,” which dropped in mid-May in advance of her new album.
“There’s nothing I wouldn’t tell either of them, so it makes it easy to be completely open when writing,” Abrams told The Times of Hobart and Dessner in 2024.
Her September 2024 shows at L.A.’s Greek Theater sold out so quickly that the singer-songwriter had to add two additional dates to meet demand. At the time, Abrams told The Times that she would keep performing if the fan support continued.
“As long as they’ll have me, I’ll do this,” she said.
Spotify Technology SA announced several new initiatives — from concert ticket perks to a major AI-generated music licensing deal — that the Swedish audio streaming company said will help fuel growth over the next four years.
At the first investor day led by new co-chief executives Gustav Söderström and Alex Norström, Spotify outlined a vision revolving around features that will allow people to personalize their listening experience, whether with music, podcasts, audiobooks or working out. Investors liked what they heard, pushing Spotify shares up as much as 18% over the course of the presentation.
Spotify addressed one of Wall Street’s biggest concerns about artificial intelligence by announcing a major new licensing deal with Universal Music Group NV. The agreement will let Spotify launch a tool to let fans create covers and remixes of their favorite songs from artists and songwriters who opt in. Powered by generative AI, the tool will be available as a paid add-on for Spotify Premium users. It will open up additional revenue streams for Spotify and create a new source of income for artists and songwriters on top of what they already earn on the platform, according to the companies.
Spotify has been working with the music industry on ways to harness the power and consumer interest in AI without violating artists’ rights. Last October, the company announced an agreement with the biggest record labels to use AI in a “responsible way,” but didn’t specify at the time what those tools would look like.
“This era of generation doesn’t need to threaten the future of music,” said Charlie Hellman, Spotify’s head of music. “Because we built the system legal, trusted and aligned, we can make sure that the value flows back to the people who created it.”
In another big announcement, the company laid out plans to work with Live Nation Entertainment Inc. to offer Spotify subscribers the option to purchase two tickets to their favorite star’s concert before they go on sale to the general public. The move could help resolve some of the issues fans have had in beating ticket resellers to face-value tickets, while encouraging customers to stay on as subscribers even as Spotify raises monthly fees.
Fans have long complained about the ticketing process for live performances, which often pit people against bots and scalpers, leading to high prices and sold-out shows.
“It’s frustrating for fans,” said Rene Volker, head of live events. “It’s frustrating for artists too, who look out at a crowd and wonder, are the fans who built my career actually here?” The new “Reserved” perk is designed to relieve some of that tension. “No racing bots, no chasing around online for presale codes. Just two tickets held for you,” she said.
The presentations Thursday were designed to comfort investors and prove that Spotify can still innovate. Wall Street has been skeptical that the company can rein in costs while staying ahead of competitors, particularly as it relates to AI. Those concerns have weighed on shares this year, sending them down 25% through Wednesday’s close. While the company makes most of its money through subscriptions, the executives sought to reinforce the idea that they have other levers to pull in order to generate sales beyond monthly fees and that people are willing to spend more for certain features.
The company outlined its growth targets through 2030, including a compound annual growth rate in the mid teens, a gross margin of 35% to 40% and an operating margin above 20%. Spotify remains committed to its long-term goal of 1 billion subscribers, $100 billion in revenue and over 40% in gross margin, the executives said.
Spotify sees its podcast and audiobook features as complementary to music and said the combination of the multiple verticals has helped broaden its community and convert users from free listeners to paid subscribers. Today, more than 500 million people have streamed a video podcast on Spotify, up nearly 50% from a year ago. And in just a few years, Spotify has captured about 20% of the audiobooks market in the US, executives said. People who use all three verticals — music, podcasts and audiobooks — are engaging with Spotify almost every day of the month, according to the company.
Giving people the tools to personalize their listening experience helps keep them in Spotify’s universe — creating what executives described as the “all day user.”
Personal Podcasts, for example, lets people write a prompt in the Spotify app and AI will create a unique podcast in response.
“We see this much more as a daily brief and a recommendation engine than something that would replace you listening to one of your favorite podcasts,” Söderström said in an interview. He noted that 60% of users in mature markets for Spotify don’t yet listen to podcasts, so features like Personal Podcasts could get them to dive into the medium.
The company said its podcast business has been profitable for two years.
Spotify’s Audiobook+ tier gives listeners more than their allotted 15 hours of audiobook listening per month for an additional fee. It has 1 million subscribers and is on track to generate $100 million in annualized revenue, the company said. To capitalize on the demand, Spotify will start selling even more audiobook hours to super users. Additionally, it will allow podcasters to offer memberships, so subscribers can access special episodes and other content. Spotify will take an undisclosed slice of revenue from the memberships.
Russell Crowe has pushed back against TMZ’s coverage of his recent interactions with a crowd of autograph seekers.
“Clickbait,” the “Gladiator” actor wrote in a Monday post on X. “Everybody got their autograph and selfie, the passage to the hotel was kept free for guests, and I still got to the airport on time. One man, no security. Handled. What’s your problem ?”
Earlier that day, the outlet had posted a video of Crowe addressing a crowd of fans and autograph seekers outside of a Paris hotel before making his way to them to sign various memorabilia.
“If you needed a reminder that fans are not always priority No. 1 — turn to Russell Crowe — cause the guy was absolutely not having it outside of his Paris hotel,” TMZ wrote in its since-deleted X post sharing the video. The outlet also framed the video as Crowe “explod[ing] on Pushy Autograph Seekers” in its news story.
In the video, the Academy Award winner is shown giving clear directions to those gathered for his autograph or to snap a photo with him.
“Stay where you are, don’t f— push in on me, I’ll come to you,” Crowe says. “Give everybody space. As soon as somebody’s a d—, I’m gone.”
The actor then approaches the crowd to sign various items held out in front of him. The short clip ends soon after Crowe declines a request to also write “Maximus” — the name of his “Gladiator” character — next to his signature as he continues to sign other things.
Crowe’s temperament, blunt demeanor and distaste for certain aspects of “celebrity” have long been fodder for news coverage. In 2005, the actor made headlines for throwing a phone that hit a Manhattan hotel concierge.
“If I ever was going to torture somebody, I’d put them in a room where they can’t leave and have someone new come in every three minutes and ask the same question over a number of days and then weeks,” Crowe said in a 2010 interview with The Times, describing what happens at a movie press junket on the eve of embarking on one.
“Some people believe celebrity is a power that should be used. Ultimately, your dollars are more powerful,” Crowe said in that interview. “I’m famous for making movies. Celebrity just happens to be an unfortunate byproduct of what I do.”
The Vicar of Dibley star Dawn French was taken aback when a fan yelled at her in the street enthusiastically but had mistaken her for her fellow sitcom legend Dame Joanna Lumley
23:01, 25 May 2026Updated 23:09, 25 May 2026
Dawn French was taken aback aback when a fan thought she was Joanna Lumley(Image: dawnrfrench/Instagram)
Dawn French was taken aback aback when a fan mistook her for Dame Joanna Lumley. The comedienne, 68, is best known playing the title role of Geraldine Granger in The Vicar of Dibley, while former model Joanna, 80, starred as boozy fashion magazine editor Patsy Stone in Absolutely Fabulous alongside Dawn’s sketch comedy partner Jennifer Saunders.
“Oh, thank you very much!’ [And they said] ‘No, you are Absolutely Fabulous, Joanna Lumley. That’s you!’ Yeah that’s me all right!” Captioning the post, she wrote: “ABSOLOOOOTLY FABLUSS!!!”
Fans were quick to react to the post, with one simply writing: “Joanna Lumley,” and leaving behind a string of crying-laughing emojis. Referring to a moment from the second series of The Vicar of Dibley, in which Geraldine is mistaken for a celebrity, another fan wrote: “Its like someone thinking you’re Alison Moyet all over again!”
Another joked: “You’ve finally made it [face palm emoji]” and a fourth said: “Recognition get it where you can! and another said: “Poor fella probably thinks Joanna Lumley was a lady vicar.”
Author and singer Jann Arden wrote: “joanna lumley!! just the best. I once had someone come up to me in the grocery store, they were awfully excited and then proceeded to tell me that I looked like Jann Arden’s mother. So there’s that.”
Dawn is actually part of the history of Absolutely Fabulous, which followed the capers of hapless PR guru Edina Monsoon and her best friend Patsy.
The sitcom, which ran sporadically over the course of 20 years, was initially based on a sketch that appeared as part of French & Saunders titled Modern Mother and Daughter, where Dawn played the part of Edina’s straight-laced daughter Saffy, and the part was eventually taken on by Julia Sawalha when the project was greenlit as a full series.
Dawn later made a cameo appearance as a television presenter in the first series, and reprised the role for Absolutely Fabulous: The Movie in 2016, alongside a host of other guest stars like Rylan Clark, Kate Moss and Dame Joan Collins.
Joanna’s early career consisted of appearances in Coronation Street and The New Avengers but she has also gone on to become known for narrating a host of travel documentaries, and has found renewed sitcom success with a starring role in Amandaland.
Meanwhile, as well as French & Saunders and The Vicar of Dibley and more recent TV roles with Can You Keep A Secret? , Dawn has carved out another career as an author, having recently released her fifth novel Enough.
It follows a woman named Etta who at 68 invites all of her family to go to the beach as the sun is rising, where she tells them that by sunset, she won’t be there anymore.
“She’s made a decision to excuse her kids from the difficult, prickly last part of life,” Dawn said as she appeared on The One Show. “And she has made this decision thinking that it’s extremely selfless to do that.”
The star told the BBC show’s hosts Angellica Bell and Clara Amfo that she felt that the fact her own father had died by suicide gave her some “permission” to write the story. Dawn also shared that her own age – 68 – was also a factor when she penned the book.
She said: “I feel a little bit of permission to write this theme because I am a child of suicide myself. My dad took his life when I was 19. And I have lived with the various stages of grief about that for my whole life.”
Lifelong Angels fan Johnny Gonzalez has reached his boiling point as the team sits at the bottom of the standings, but he’s not giving up. And he’s not alone.
The Angels completed a surprise sweep of the Rangers Sunday, but the team still is tied for the worst record in Major League Baseball with a 20-34. Their fans spent the holiday weekend pushing back against the idea that the franchise would never be more than a bargain option amid rising prices all around them.
Frustrated fans have gone shirtless during the Angels’ homestand and chanted for owner Arte Moreno to “sell the team.” And about 75 fans heeded Gonzalez’s call for a protest, gathering in front of the Angel Stadium State College Boulevard entrance on Saturday chanting “sell the team,” “we want playoffs” and “winning matters.” Drivers passing the spectacle honked their horns in support.
“They’re not doing much for us fans,” said Gonzalez, who organized the protest using the Instagram account @AngelsBoycott. “It seems like every other team is just doing a lot more than us, despite us having a huge following [and] having some of the best players to ever play the game. I mean, it’s just like a lack of commitment, to say the least, and that’s why we’re here today.”
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 Saturday at Angel Stadium.
(Joaquin Ruiz / For The Times)
It has been three months since Angels owner Arte Moreno told the Orange County Register that, according to Angels survey results, winning was not a top-five priority for fans and that data showed they valued affordability, safety and a “good experience” first.
Outrage over the remarks has grown as the Angels remain anchored at the bottom of the standings.
With a megaphone in his hand, Gonzalez pointed to the Ducks’ recent Stanley Cup playoff run as proof that Anaheim enjoys winning. He also noted how the nearby Dodgers and even the Padres demonstrate how Southern California teams can play for the postseason.
The Angels have missed the MLB playoffs for 11 consecutive seasons — including six with stars Shohei Ohtani and Mike Trout on the roster — and have reached the postseason six times since Moreno purchased the team in 2003 after the franchise’s sole World Series title win in 2002.
Team officials did not respond to The Times’ request for comment on the fans’ protest, but manager Kurt Suzuki addressed the “sell the team” chants that are so loud they can be heard during Angels television broadcasts.
“I know it’s a thing, the no shirts and waving,” Suzuki said. “But yeah, we see it. We recognize it. They have the right to their opinion, and … they cheer for the guys, they roll-call them. I think it’s pretty neat for them to have that kind of support.”
A fan wears a bag over his head that says “Sell the Team Arte!!!” during a game against the Rangers on Friday at Angel Stadium.
(Mark J. Terrill / Ap Photo/mark J. Terrill)
Suzuki added that the Angels remain focused on winning and haven’t paid the chants too much attention.
The Angels entered Sunday’s game ranked No. 9 in MLB attendance with 34,555 announced fans per night, according to ESPN. There are swaths of empty seats during every home game, suggesting some season ticket holders are choosing to stay home.
There is an expanding contingent of fans in the upper deck adjacent to the right-field foul pole who have chanted “sell the team” while waving T-shirts, joining in on a trendy “tarps off” fan movement across MLB sparked by Cardinals fans in St. Louis.
Angels fans who haven’t joined the protests are pleased to see the calls for change.
“I think it’s good that there’s fans that are passionate enough to actually speak out, to want to see a better team and really want to get us back into the playoffs,” Darren Shimasaki, an Angels fan from Yorba Linda, said Friday.
Debbie and Reed Olive, meanwhile, said they usually attend games for the promotions.
“You’re not going to come away with the wins,” Debbie said. “So, we got to get something for our ticket price.”
Even the fan experience unrelated to winning that Moreno touted has taken a hit.
Angels officials said they quickly resolved a rodent infestation Orange County health inspectors flagged at an outdoor food stand in View Level Section 432. Videos of stadium workers capturing a possum in one fan section and spraying gnats on the field during the last few weeks haven’t helped the team’s image.
Reed said the rodent infestation “was a bad look” and that the Angels need a new stadium in addition to a new owner.
Catcher Logan O’Hoppe, who has spent his five-year career with the Angels, said he understands the fans’ frustration.
“We don’t like not doing well, either,” O’Hoppe said. “It’s not OK to us. It doesn’t matter how much we’re getting paid or that we get treated great throughout the league and things like that. We hate it, too. I think people definitely don’t realize that. I think I can speak for a lot of guys in here that we dedicate our lives to this. … We’re not happy with how it’s going, but we’re doing everything we can to fix it.”
O’Hoppe is a New York Rangers fan and gets frustrated when his team struggles, but he said he reminds himself that “we’re all humans.”
The Rangers’ Josh Jung is tagged out at home by Angels catcher Logan O’Hoppe on Friday at Angel Stadium.
(Mark J. Terrill / Ap Photo/mark J. Terrill)
Angels left fielder Wade Meckler, who made his debut on Friday night, is an Orange County native who grew up cheering for the team.
“I mean, I get it,” Meckler said. “It’s a hungry fan base. The fan base is hungry for a winning team. So I understand, you know, being frustrated. They just really want a winning team.”
Meckler has been following the Angels since age 5 and remembers feeling dejected after attending the Angels’ 4-1 home loss to the Royals in Game 2 of the 2014 American League Division Series.
“It’s a super loyal fan base,” Meckler said. “I feel like they show up with energy every day.”
The Angels are on track to miss the postseason for a 12th consecutive season, prompting restless fans to call for new owners who will invest in building a team capable of reaching the playoffs.
“Arte don’t know what he’s talking about,” said Austin Kleschka, an Angels fan who joined Gonzalez at the front of Saturday’s protest. “Winning is a priority. We want that.”
Losses by 6-0. 15-2. 10-1. How do you want to spin the Angels now, GM Perry Minasian? Are things still grand in Arteville?
Humiliations galore!
Jim Fredrick Manhattan Beach
Really? The Angels cannot hit, cannot pitch and certainly cannot field. Their hitting coach, pitching coach and manager Kurt Suzuki‘s terrible management are much higher on the list of what’s wrong with this miserable team this year. So sad.
Michael Reuben Anaheim Hills
The recent emergence of shirt-waving fans at Angel Stadium urging ownership to “sell the team” is an opportunity for reflection. With the long ago departure of the controversial former Clippers owner Donald Sterling, is Arte Moreno now truly the worst owner in sports? Sterling was truly detestable in his time, but at least he fielded a highly competitive and exciting Lob City squad led by legendary coach Doc Rivers. For the 2026 Angels, the dog days have already begun — before Memorial Day weekend.
Rob Fleishman Placentia
Going into Memorial Day weekend, the Dodgers are in first place and the Angels are in last place. Plus the Angels’ shirtless fans in the stands are screaming at owner Arte Moreno to “Sell The Team!” The more things change, the more they stay the same. Ho hum.
WASHINGTON — The NAACP is calling on Black athletes and fans to boycott the athletic programs of public universities in states that are taking steps that the nation’s oldest civil rights group says are restricting Black voting rights.
Launched on Tuesday, the “Out of Bounds” campaign urges prospective Black athletes, their families, alumni and fans to “withhold athletic and financial support” from major public universities in states that “have moved to limit, weaken or erase Black voting representation.”
If Black athletes participate in the boycott, it could deplete rosters for powerhouse football and basketball programs across the Southeastern Conference and Atlantic Coast Conference.
The NAACP is among groups responding to a wave of gerrymandering in the aftermath of a Supreme Court ruling that winnowed a key provision of the Voting Rights Act of 1965.
The boycott comes as civil rights activists have mobilized across the South to protest redistricting plans by Republican state legislatures that eliminate majority-Black congressional districts after the high court’s ruling. Activists have looked for pressure points to dissuade GOP-led states from redistricting maps, including calls for mass protests and economic boycotts.
“Across the South, Black athletes have helped build some of the most profitable college athletic programs in America,” said NAACP President Derrick Johnson. Johnson noted that the programs “generate hundreds of millions of dollars in annual revenue, national television value, alumni donations, merchandising sales, ticket sales, and brand equity — much of it powered by Black football and basketball talent.”
The NAACP’s campaign calls out Alabama, Florida, Georgia, Louisiana, Mississippi, Texas and South Carolina as states to boycott, arguing that the athletic programs of those states’ flagship universities are especially reliant on Black athletic talent and should protect Black political interests.
“Black athletes should not be asked to generate wealth, prestige, and power for state institutions while those same states strip political power from Black communities,” said Johnson.
Black lawmakers themselves are also putting pressure on athletic leagues to take action against Republican-led states that may redistrict longtime Black members of Congress.
The Congressional Black Caucus on Monday sent a letter to the commissioners of the SEC and ACC athletic conferences, as well as NCAA President Charlie Baker, that its members will oppose the SCORE Act, a bill to standardize athletes’ contracting rights across the country, unless conference leaders oppose GOP-led redistricting efforts in states that include major conference members.
“The Congressional Black Caucus believes institutions that profit from Black talent and Black communities have a responsibility to stand with those communities when their fundamental rights are under attack,” the CBC said in a Monday statement. “Silence in the face of injustice is not neutrality — it is complicity.”
“It’s so intimidating to walk through here,” says an arena staffer as she scurries under the sight line of a video camera on a tall tripod. It’s a couple of hours before the Sparks’home opener against the Las Vegas Aces on Mother’s Day. None of the photographers or videographers or security guards respond. She says it again. Still they don’t react, but they’re not being rude. They’re just all laser-focused on a 6-foot-4 blond wearing a stunning white Alaïa runway set that happens to be both a perfect ab showcase and an unmistakable style gauntlet thrown.
As every WNBA fashion watcher already knows, the blond can only be Sparks forward Cameron Brink, a Vogue favorite and a staple on LeagueFits, the Instagram account that has amassed a million followers since 2018 with a curated stream of tunnel fits. How do they differ from regular off-court attire? These are highly stylized, high-stakes pregame outfits that many professional athletes wear when arriving at the stadium or arena, capitalizing on the opportunity to get seen on their own terms.
Cameron Brink wears an Alaïa top and skirt and Louboutin shoes.
The popular images share a common visual language: The players show up in outfits so expressive they raise an exhilarating middle finger to the very idea of quiet luxury. The backdrops are always drab; concrete floors and metal doors. The stark contrast between the two, and the suggestion of backstage access, make the photos irresistible to fans.
No one skips the tunnel walk. The Sparks rookies are here early, Ta’Niya Latson first, followed by Ji-Hyun Park and then Chance Gray, all arriving while the last section of sparkly black carpet is still being laid down on the literal tunnel, which is finally emblazoned with the team logo. That’s the one they’ll all walk in uniform to get onto the court. We are in the proverbial tunnel, it is the bustling back-of-house that players must traverse on their way to the locker room, which means that all around us the enormous task of staging a pro ballgame is unfolding in a practiced frenzy.
Less than a month ago, Latson went classic Hollywood at the WNBA draft with a glamour girl dress, meticulously laid spit curl and elbow gloves, but today she comes in sporty and fun, in a Puma top and jeans with a folded-down waistband. It’s her very first league game, and the moment is surreal, joyful. “It doesn’t even feel like I’m here, but I am,” she says.
A team staffer pulls a forgotten wad of blue painter’s tape off the floor. A photographer checks her light levels. Three gaffers rush by with heavy coils of electric cord slung over their shoulders. Park is next to arrive. A basketball star in Korea, she’s new to L.A. but already wearing a sweatshirt from a local brand, Madhappy, and does not seem at all intimidated by the cameras, giving them a playful pose, head cocked and leg kicked out. Not long after, Gray, in a plaid mini, is also posing at the photographers’ request, switching effortlessly between signature Gen Z stances, chin resting atop a bent hand. She, too, showed up at the draft in a flawless gown, but today all three rookies seem to have wisely cast themselves in a sort of spirited younger sibling role.
Ta’Niya Latson wears a Puma top and Louis Vuitton bag.
Jihyun Park arrives for her tunnel walk in a Madhappy sweatshirt and Nike sneakers.
Chance Gray wears a Revolve top and shoes, I.am.Gia. skirt and Ganni bag.
Word spreads that Sparks starter Kelsey Plum will be there soon and everyone straightens up. More team staffers rush by. To play basketball you need only a ball and a basket. To magic a WNBA production into existence, you need so much more. A man bearing a dozen brand new jerseys, designed as a callback to the original 1997 uniform, weaves past a line of people going the other way, carrying orange Gatorade coolers and stacks of branded blankets wrapped in thin plastic. An assistant speeds back and forth, loaded down with pallets of snacks, her long hair streaming behind her.
And then Nneka Ogwumike steps into view. After two seasons in Seattle, her return to L.A. is triumphant. As president of the Women’s National Basketball Players Assn., she helped secure a historic new agreement, signed March 24, with salary numbers that mean real money across the board. And in case there were any lingering doubts about her loyalty, she’s made a pointed clothing choice: a pair of custom tapestry pants constructed from a Lakers logo blanket, created by KA Originals designer and former player Kristine Anigwe. The message is simple. “L.A. for life,” says Ogwumike.
Nneka Ogwumike wears custom KA Originals tapestry pants constructed from a Lakers blanket.
Now the rush begins. As we’re talking to Ogwumike, Sania Feagin slips by in a multicolored knit beanie, smile unmissable, holding a bouquet of Mother’s Day flowers from one of the league’s social media managers. Then Emma Cannon embraces the holiday by pulling her son and twin daughters behind her in a wagon. As the family is photographed, several Aces members come in and pause for a brief hug and coo before ducking quickly out of frame. The energy could not be more different from a boxing weigh-in. No spotlight stealing. No antagonistic peacocking.
It is, indisputably, the home team’s turf. And Plum, next to arrive, treats it like her runway. Willy Chavarria sunglasses on, textured Ferragamo trousers glittering with each camera flash, she strides through without pausing. The look has her signature rebel edge, but the guard is working with a new stylist, Karla Welch, who’s known for transforming actors into fashion darlings — her client Greta Lee (“Past Lives”) is the face of Dior’s latest campaign.
Soon after, we get another speed strut from guard Erica Wheeler, whose giant “EW” initial chain from the GLD Shop is the iced out topper to an outfit that’s a master class in artful layering, composed with the assistance of stylist Miguel Moss. Wheeler dipped into Willy Chavarria’s Adidas collab with both her shorts and a pair of black sneakers with a metal-tooled toe in a floral pattern that the designer named after the Compton Cowboys.
WNBA LA Sparks player Emma Cannon with her three children.
Kelsey Plum wears Ferragamo top and pants, Willy Chavarria sunglasses and Jude boots.
The entire time players are walking through, music has been booming through the hallways. Gradually, it becomes clear that the game DJ and host are also getting ready, running through their playlists and patter. When Rae Burrell enters, the game announcer is rehearsing, exhorting the not-yet-arrived crowd to cheer for their team. Burrell may have worked with a shopper to procure options, but she styled herself in this cheer-worthy outfit — a gray minidress that satisfyingly contrasts with a pair of bright white Moon Boots, all pulled together the night before.
Star stylist Brittany Hampton, who has worked with Brink and Plum, says, “historically, [the players] were told to kind of put themselves in a box … to shrink themselves.” The league had very narrow standards for how women were expected to look. But now, according to Hampton, their fashion choices are a projection of power: “It’s an act of their own ownership.”
Before she headed to the locker room, Burrell thanked everyone and called out a cheerful invocation, “Successful first game!” That’s the appeal of the tunnel walk. You cannot stay suspended in pure potential. There is always a ticking clock. A game will be played. Someone will win and someone will lose. None of us know yet that the Sparks are about to get trounced by the Aces, losing by 27 points. It might seem like it would be more sensible for this ritual to take place after the game, for the victors to stage a triumphant, high-style parade and for everyone else to slink out, unnoticed. But where’s the glory in that? To be an athlete is to prove yourself constantly, to always be risking your ego and your body. Without these stakes, without the backdrop of the tunnel and the promise of the competition, it would just be a runway.
In the third quarter, as the Aces’ points keep piling up, the Jumbotron lingers on a fan wearing a simple white T-shirt, probably self-made, emblazoned with an iconic 2024 image of Kelsey Plum in black sunglasses and head-to-toe black leather. Plum is braless, her vest open to reveal a shimmery pile of silver chains, her abs on defiant display. It is a potent, and lasting, assertion of self. The fan in the T-shirt smiles as their image, and Plum’s, looms over the arena.
Dearica Hamby poses with her daughter, Amaya, and wears an Ottolinger set, Steve Madden shoes and Balenciaga.
Rae Burrell wears Prada sunglasses and Diesel bag.
Ariel Atkins wears Zara pants, Charles Keith top, Bape shoes and Ganni bag.
Sania Feagin wears Mnml pants and jacket and Supreme beanie.
Head coach Lynne Roberts.
Jade Chang is the author of the novel “What a Time to Be Alive.”
This article contains spoilers for the penultimate episode of “The Boys.”
There’s just one episode to go in the fifth and final season of Prime Video’s irreverent superhero satire, “The Boys.” The topical, darkly funny, whip-smart series from Eric Kripke follows a band of vigilante misfits who fight to expose the all-powerful, corrupt conglomerate Vought International and its stable of villainous superheroes.
Among the ragtag crew of antiheroes is Frenchie, played by Tomer Capone. Frenchie is the de facto chemist and inventor of the group, a former assassin for hire whose drug-addled brain is constantly concocting news ways to kill immortal Supes (superheroes). Yet he’s deeply connected with the feral Kimiko (Karen Fukuhara), who was nonverbal when he helped save her from human traffickers who sought to cash in on her Supe strength. Their bond — both are outsiders who suffered abuse as children — is one of the few emotional soft spots in the otherwise fast-moving series about America’s rotten power structure, manipulative media and the gullibility of the public.
Though fans of the show are already mourning the end of “The Boys,” they were dealt another major blow Wednesday, when in Episode 7 beloved Frenchie met his fate at the hands of the sociopathic head Supe, Homelander (Antony Starr). Israeli actor Capone talks about the scene, the end of the show and how to cope with the loss of Frenchie. This conversation has been edited for clarity and length.
OK, so the big question first. Do you actually speak French?
En vous? Moi? [Laughs] OK, a little bit, but it’s a different kind of French. But that wasn’t the difficult part. Frenchie, to me, is one of those characters for an actor, that’s a gift. It’s something I prayed for. It’s a full-on character. He’s an outsider. He’s a foreigner. The way he walks, the way he talks. We can also talk about the crop tops and the hairstyle …
He’s a full-on character, and the French aspect was only part of it. There was also the sign language with Kimiko, and the connection. For me, the emotion and connection was the bigger aspect of portraying Frenchie.
Are you ready for all the tears of your fans once they witness Frenchie’s demise? He sacrifices himself to lure Homelander away from Kimiko. She is saved, but he is killed in the process.
Oh my God, I can’t watch it. I didn’t watch it. I can’t. I’m too involved.
Tomer Capone on the scene with his character’s demise: “Oh my God, I can’t watch it.”
(Jasper Savage/Prime)
So you really haven’t watched the scene yet?
No. It’s the longest character I ever had in my career, and I can’t. Something tells me not yet.
When you shot that scene, was there an intensity on set? How did that play out?
Intensity is always around the show because there’s so much to accomplish doing “The Boys.” But funnily enough, that specific scene was the most tranquil and quiet set I’ve experienced. I remember standing there with the amazing people of the cast and crew, and we’re talking about how the scene is going to play out. I felt this quietness, like everybody was like inside themselves, so I started to get nervous. I said, “Oh my God, they’re expecting something.”
But very quickly, I decided that I’m just going release all the [plans], thoughts or ideas that I had about the scene. I literally went into this mantra that said, “Frenchie, here’s the keys. Drive the car.” And you know what? It was the right way to go. It made sense. It felt very respectful and spiritual. Those kind of scenes come once in never, where you feel like you’re letting the character drive, and you’re just gliding behind it.
“The Boys” is based on the 2000s comic book series of the same name by writer Garth Ennis and artist Darick Robertson. But the show is unlike any comic book adaptation out there. In fact, it mocks superhero culture.
The biggest gift of working [with] Eric Kripke, the writers and this show is that even as things are moving fast and big things are happening, they’re emotionally backed up. And as a character and an actor, it’s like, OK, I understand what I’m doing. This is the world and what we’re playing. You get where it is going, and why it needs to happen.
Were you surprised when you first learned about Frenchie’s fate?
I wasn’t surprised when I heard from Eric that Frenchie was continuing on to the big field [in the sky]. I had this feeling. I didn’t want to say it out loud. It’s like, at this point, the fifth season, we all felt it. We knew where it was going,
But Frenchie is the empathy and compassion of this series. I actually cried when he was killed off. The empathy is gone, and now we’re left with soulless, terrifying Homelander.
But Kimiko lives.
True, but I haven’t seen the finale. How does Kimiko go on without Frenchie?
Well, let me tell you… [laughs]. I can’t tell, but I can say that I do think Episode 8 is going to blow the audience and fans’ minds with where it goes. That’s the only thing I can say. It evolves into something that resonates.
When it comes to pushing the envelope, “The Boys” is renowned for going where most shows won’t. It drove a speed boat into the side of a whale, imbued superheroes with powers such as toxic vomit and a giant killer penis. Then there was the flying killer sheep. Was there ever a moment too far for you?
Almost every episode has those moments … I remember they told us about the whale, and they said they were still figuring out how. It was a surprise. So I’m driving to set, and it was a sunny day on the shore of Toronto, then all of a sudden, my windshield, everything is covered with this [big shadow], and I’m like what’s going on? Clouds? Is going to rain? The day is ruined! Then I look up and see them [trucking] in a real-size animatronic whale. People that had nothing to do with the show were stopping their cars and looking at this whale moving on the Toronto shore. It was like, OK, here we go.
And there was the musical sequence [in Season 3, Episode 5, when a hospitalized Kimiko imagines her and Frenchie dancing to “I Got Rhythm.”]. Karen and I were on set, and there’s like 30 professional dancers stretching behind us, beautiful and fresh and clean. And we’re looking at each other like, what is this show? What are we doing here? As an actor, you pinch yourself. It’s an experience.
Frenchie (Capone) and Kimiko (Fukuhara) in Season 3’s musical number.
(Amazon Studios)
The musical number, did you actually have to practice the choreography for that?
Oh, day in and day out. I thought I knew how to dance. Apparently I needed some work. Luckily, Karen is a total badass in terms of her commitment, and we practiced it day and night, even working on it off set between other scenes, just working in the movements, trying to get it right. But I learned something very fun about myself. Usually, I don’t like to watch myself on screen, like a lot of actors don’t. From time to time, I would watch an action scene or me fighting because I want to see if I got the choreography right. And I learned that I can watch myself dance too.
With all the fighting in that show, that’s also requires quite a bit of physical acting.
We have the best stunt teams in the business. They made our life very easy compared to the crazy stuff we had to do. Saying that, I don’t miss the harnesses that they put on us. I will not miss that
Harnesses?
I remember when we shot the first episode where Frenchie, Hughie (Jack Quaid)and Mother’s Milk (Laz Alonso) are captive in the camp. And then I think Starlight flies me off out of the camp. It was like minus 40, snowing. We’re on our harnesses, and we’re just flying away. It’s an experience.
“The Boys” has brilliantly captured the political craziness in America, but told through the world of egotistical superheroes. For example, Homelander claimed he was lord and savior around the same time President Trump posted an AI image of himself as Jesus.
How they predicted some of the stuff, it beats me. You’re going to have to ask Kripke and his writers. But I love that the show tackles all that. For me, portraying Frenchie is about humanity. About how in chaos and in fear and in the craziness of “The Boys’” world, people still choose love and compassion and that’s really the heart of “The Boys.” Or maybe that’s just from Frenchie’s perspective, where it’s all about family, loyalty and protecting the ones you love.
How did you imagine the character of Frenchie when you first learned of the show?
When I got the audition, I didn’t know about the source material. I didn’t know about the novel, or the graphic comic book. So I went online, and I started researching Frenchie. And the first picture that came in was this buzz cut, crazy, goggle-wearing character. I said, what really? Frenchie specifically is illustrated and drawn so different from volume to volume. It gave me so much space to create something in between those worlds. Then picking the brain of Eric Kripke and building a whole story and backup story for the characters. We already knew, in a way, where it was going, so we had the privilege of understanding the arc of the bigger picture for “The Boys.”
Do you have a favorite Frenchie moment?
Yeah, I do, but it’s not what you might expect to hear. It’s from Season 1. There was this scene with Frenchie and Petit Hughie. Hughie comes out of his father’s house [and he’s upset]. I say that I understand because my father was bipolar too, and [he tried to smother me with a] Hello Kitty duvet. It’s just it’s one of those moments when we couldn’t get those two lines out. We kept breaking. I think it’s the longest scene Jack and I ever had in the show. It was something like 14 takes. All the cast and crew were breaking too. It was like, should we just give it up? But I was fighting for it. No, I can do this! Now it’s a [fan] favorite quote. So that means a lot. I fought for that line!
Have you thought about how you’ll console distraught fans once they’ve seen Episode 7?
